Television review: Lost #601 and #602: 'LA X parts one and two'

601 and 602: 'LA X parts one and two'

Wr: Damon Lindelof & Carlton Cuse
Dr: Jack Bender

Synopsis: The aftermath from Juliet's detonation of the hydrogen bomb is revealed.

Review: If ever there were any doubt as to the insurmountable talents of Lost's executive producers and showrunners Damon Lindelof and Carlton Cuse, one need only look to this double-header opener for the show's sixth and final season for proof that yup, these guys truly are the very definition of genii. When the fifth season ended quite literally with an almighty bang as Juliet detonated the bomb at the base of the Swan station, it appeared to everyone and their grandmother that the narrative could go one of two ways: the logical route, as dictated by the laws of time travel that have been outlined within the show, by which the attempt would fail due to the fact that The Incident always occurred, or the more fanciful route, in which the writers would press the reset button on the narrative; the plan would succeed and the Losties would never crash on the Island, making it all the way to LA X. No one considered the possibility that both could happen... but here we are, nine months later, our expectations confounded once again.

This really is a fantastic conceit, superbly crafted. Its strength lies in its inherent obliqueness; we don't know the meaning of what it is that we are watching. The narratives run side by side, juxtaposing one another, but we are never treated to an explanation as their purpose, or how they sit within the framework of the show. There are a number of interpretations: firstly, that the two are mutually exclusive and rather than being a definitive depiction of some sort of chronology, they function as a sort of 'what if'. Are Cuse and Lindelof showing us both sets of consequences? Will the episodes take us on a dualistic narratalogical journey until the finale, wherein we will see two conclusions? Should we treat this as a metatextual decision rather than a canonical one? (Or, if we wish to fit it into the teleology of the over-arching story, as some sort of parallel universe narrative?) Then, of course, we have the possibility that both strands are actuality, that one is simply a consequence of the other. So, the reversion to LA X happens but at a future point to where we are in terms of the show's unique chronology. Somehow, through the duration of the sixth season, through the continued trials and tribulations on the Island, the Losties will get another opportunity to change history. This certainly seems likelier - the narrative for the sixth year, much like the fourth, would essentially be cyclical, exploring the aftermath of the 'flash point' as well as how that point is reached.

However we wish to look at this device, there is no denying that it makes for utterly compelling viewing. The decision to explore the consequences of Flight 815 landing in L.A. not only allows for some old faces to get a little more screen time - it's great to see Ian Somerhalder back as the much-missed Boone (although Shannon's absence is a little conspicuous), Dominic Monaghan as pre-Island, messed up Charlie and, indeed, to hear Greg Grunberg's dulcet tones as the unfortunate pilot - but it also gives the narrative a deal of breathing space, taking characters in previously unexplored directions and making new connections. Jack befriending a wheelchair-bound Locke is perhaps the best example of this; it's a wonderfully organic sequence, playing exactly like any surface-level encounter would. Kate's efforts to escape the clutches of the Yellow Eyed Demon from Supernatural are also somewhat intriguing. As we end the episode on her commandeering a taxi with Claire inside, it looks like their lives are destined, once more, to become intertwined. One imagines this is how most of these strands will play out over the course of the season, since this is sure to continue through to the finale. We will see how the Losties become connected regardless of the Island, and also explore how they deal with the respective issues and neuroses that they resolved, to a greater or lesser extent, while cast away (Jin and Sun being a prime example). And it's a testament to the strength of every single member of the cast that they slip effortlessly back into their former roles as if it's been five minutes, not five years, in the interim.

On the Island, meanwhile, Lindelof and Cuse treat us to one gargantuan juggernaut of a plot, revealing facts, people and places previously only hinted at within the arc story. The notion that Jacob's 'old friend' is Smokey is something that many have hypothesised in the gap between seasons but its revelation comes as no less dramatic an event. The sequence in which the creature lays Jacob's bodyguards to waste is stupendous, brilliantly macabre and eerie, largely because we still don't know, after six whole years, exactly what the damn thing is or what those ruddy noises are. Tasked with portraying the 'human' aspect of the entity, Terry O'Quinn does an absolutely stellar job, making every line of dialogue seem like the creepiest thing you've ever heard. When he informs us that he wants to go home at hour's end, it's unrelentingly disturbing, the maddening look in Locke's eyes magnifying the unnerving nature of the scene. His interactions with both Ben and Richard are also rather beguiling, particularly the latter given that there seems to be some distinctly loaded history between the two.

Over the other side of the rock, Josh Holloway proves his worth a million times over with a colossally impressive goodbye sequence to Juliet. Credit to Elizabeth Mitchell, she's fantastic too and I defy anyone not to get at least a little teary-eyed at Sawyer holding her in his arms, trying to cling to the hope that she'll survive. Subsequently, of course, he's brilliant at conveying the character's anger, bitterness, resentment and sorrow, with sequences with Jack, Kate and Miles all stealing the show at various points. This being Lost, one death in two episodes simply isn't enough, so Lindelof and Cuse tease us with Sayed's unfortunate passing too in a series of scenes that finally allow us to get some semblance of a glimpse into the batshit lives of the Natives. The fabled Temple is revealed and it's rather nifty, the weird whispers return, Cyndi makes an appearance (let's hope she sheds some light on what it is that these guys actually do!) and we find out exactly how Ben, and probably many others, were healed. Dunk them in some water, turn the hourglass and watch wonders work. Naturally, there are still many questions unanswered here, not the least of which is how Sayed manages to survive after having been pronounced dead, but even if there are few explanations, the story itself has sufficient dramatic momentum and enough intriguing intricacies to make for something truly fascinating.

In amongst all of this, we haven't even mentioned the ankh in Hurley's guitar case (a fantastic and unexpected twist), Miles's intriguing channelling of Juliet (what does she mean by 'it worked'?), the unusual blood mark on Jack's neck in the teaser sequence and Desmond's presence on the plane which prompts a slue of questions in itself. There's just so much on offer here that it's easy to lose track of all the talking points and that can only be described as a very, very good thing. 'LA X parts one and two' are episodes packed to the brim with drama, development, intrigue and mystery, designed both to confound your expectations and satisfy your need for clarity. With a wonderfully original plot structure and many, many outstanding scenes, this is yet another instant classic and a season opener to treasure. If this is the shape of Lost to come, we're in for the ride of our lives. 9.5 (both episodes)