Lost 3.22/3.23: "Through the Looking Glass"

Written by Damon Lindelof and Carlton Cuse
Directed by Jack Bender

In which the plan against the Others is unleashed, Jack attempts to lead the tribe to safety and rescue, Charlie makes a critical choice, and by the end, everything changes…

Status Report

As mentioned previously, this episode represents the 60% completion point for the “Lost” epic. In terms of a novel, this is when the plot usually gets rather complicated. This is when the unexpected twists and revelations begin, when choices and consequences are most important. Since the series is more or less five seasons long (in terms of the number of episodes), there’s an interesting basis for comparison.

Some might remember the series “Babylon 5”, a science fiction series from the 1990s that had a unique structure. It had a planned beginning, middle, and end, stretched across five seasons, with a measured progression of plot and character arcs along the way. Without getting into details, the third season of “Babylon 5” involved a rising conflict with a mysterious enemy, with the season finale bringing that conflict to an important crossroads. Unexpectedly, early in the fourth season, this conflict (which had been building since the middle of the first season) came to a definitive end, though this led to a series of other important revelations and consequences. (Fans of both shows might see other parallels as well.)

This was brought to mind by this episode, because the Others have been the mysterious enemy since roughly the middle of the first season, and in this episode, Ben begins to explain his rationale. It’s not particularly new, for those paying attention over the stretch of the third season, but it does point to the possibility (predicted previously) that the JackLocke Tribe and the Others might have a common enemy.

Ben has insisted for quite some time that contact with the outside world should be limited at best. He’s taken measures to keep people on the island against their will, and he has contact with assets in the outside world to ensure that people learn about the island on his terms. On one level, his association with Jacob give him reason. On another level, it appears that he might have good reason to want the island to be preserved.

The tale of Desmond and Penelope has suggested an interesting and complex scenario. As previously speculated in the review for “Live Together, Die Alone” (the second season finale), Desmond’s arrival on the island and his effective imprisonment in the Swan Station seems to have its origins with Penny’s father. If so, Charles Widmore might have known the general location of the island, but not its exact location.

After the end of the second season, Penny’s people had found evidence of the island’s location, and as this episode proves out, her efforts over the subsequent weeks to contact someone on the island to find Desmond had been substantial. Surely, this would have been discovered by her father, who might see an upside to finding Desmond, the island, and taking control before Penny can make her own move.

This would be in keeping with the producers’ comments regarding the deep importance of the tale of Desmond and Penelope, and how it sits at the heart of the series’ mythology. It also justifies Ben and his draconian measures. All the evidence suggests that the Widmore machine is substantial and destructive, and if anyone would want to find and exploit the island and its properties, it would be Widmore. And Widmore would be able to send someone with a picture of Desmond and a satellite phone along with a small fleet of mercenaries to find and occupy the island.

This is what Ben is trying to prevent, and with a potential threat on the horizon, his tactics need to change. Previously, he’s seen the JackLocke tribe as grist for the mill, a source of replenishment of his population and further biological tests to solve the fertility problem. Now, he needs them, and oddly enough, the JackLocke tribe may need him, especially if his warnings come true.

This places the flash-forward in this episode in an interesting context. One might assume that Jack, Kate, and the other rescued survivors in that unknown future time period were rescued by Naomi’s group. However, the evidence suggests something far more complex and deadly. If Ben is correct, the island will be coming under assault by those with little interest in rescuing anyone.

Jack, in the future, was seen as a hero “twice over” after he saved a woman from a car accident that he, indirectly, brought to pass. The first incidence of heroism, it seems, had been his effort to get the JackLocke tribe rescued. At least some of the main characters survived to that point, and it was an open and positive enough rescue process for the media and public to see him as heroic well after the fact. More than that, Jack was trying to find the island again, suggesting that whatever was profound about the island was still present and unspoiled.

It is also suggested that Jack had to make some difficult and morally questionable choices to ensure rescue, and nothing that happens on the island in this particular episode meets that level of psychological duress. Had Sayid, Bernard, and Jin died, it might have been another story. But the only major casualty was Charlie, who chose his own fate.

What this points to is a major arc, perhaps stretching over the entire fourth season, where the island is invaded by Naomi’s group and Jack realizes that it was a massive mistake. The only means of survival might be an alliance with the Others, who have now lost some of their best operatives. Presumably, this would eventually end with effective resistance against the invaders, but would end with Penny and her people rescuing the survivors.

If true, then Jack’s story in the “future” would represent a fifth or sixth season boundary point, not the end of the series. The full measure of the story may require that the survivors be rescued and then, in some lesser fashion, find their way back to the island to finish what was started. Stepping back into the outside world, as mentioned in the review for “Greatest Hits”, would give the writers a way to explore the various connections to the island and its history beyond the island itself, as Jack and those willing to return with him look into how to do so.

To keep the story powerful and unusual, this could all happen concurrently, much as this episode accomplishes. The story of what happened leading up to and beyond the flash-forward in this episode, seen from the point of view of several key characters, could weave into the story of how the invaders were repelled and the subsequent rescue took place. And this would allow the writers, at some future point, to spend very little time in the outside world before returning to the island. (At that point, one would expect the narrative to shift again.)

This is all speculation, of course, and the series could take a completely different path. But this would facilitate the concept of redemption. If the island demands that people change, on some fundamental level, then it’s more than just a shift of psychology on the island. The survivors must follow through on those choices. In essence, the way of the island (taking down those who cannot change and redeem themselves) continues. For example, if Sawyer comes to terms with his past on the island, following “The Brig”, then he must inevitably follow through on the potential for change after leaving the island.

Speaking of relationships, this is another aspect suggesting a time period between this finale and the actual rescue. The suggestion is that Kate and Sawyer found a life together after the rescue (though this is intentionally vague, and might be completely different than expected). As of this episode, however, Sawyer is pushing Kate away. Jack also has a budding relationship with Juliet, but she’s nowhere to be seen in the flash-forward. (This aspect is, quite possibly, the only redeeming quality of the Polygon of Tortured Love.)

Taking that and the redemptive concept in mind, Jack’s future trouble is in keeping with the idea that his progression was incomplete. He wasn’t meant to leave yet. Perhaps none of them were, but he certainly wasn’t. It may be that return to the island would be fatal, but it’s also possible that he needs to uncover the truth about the island to complete his journey. His “future” difficulties are indicative of a self-destructive transition from the man of science and reason to a man of faith, not unlike Locke. This episode suggests that Locke’s death, unnoted by everyone but Jack, triggers Jack into taking on that destiny.

Some might balk at the need for using Jack as the POV character for the future, but for better or worse, he is the central character as seen in the pilot. Jack and Locke represent two important philosophies on the show, and one would expect that Jack’s journey would be a through-line for the series as a whole. The fact that Jack is reviled is not necessarily a reason to avoid his point of view; if anything, it would make his potential redemption upon return to the island more compelling. That said, it would be expected that the “future” time period would be seen again from other perspectives.

In the “present” on the island, Locke hits yet another crisis of faith, as evidenced by his inability to walk and his decision to commit suicide. Walt’s apparent appearance changes that, restoring his faith. Though some might interpret Walt as a return of the character, this is unlikely. Looking back on “The Cost of Living”, this is more likely a manifestation of the “monster”, taking on a form that Locke would find meaningful. This once again suggests, in light of the speculation above, a link between Jacob, the “monster”, and the central mystery of the island. With the future of the island at stake, Locke is sent to eliminate that threat.

The flash-forward and Jack’s mission to the radio tower includes the long-awaited reunion between Danielle and Alex. This could lead to the revelation of how Ben came to be Alex’s adoptive father and what happened 16 years earlier. Even without those answers, this plot point pays off some of the lingering questions from the first season.

The other major subplot of the episode involves Charlie and Desmond. As expected, Desmond’s vision comes true, even if not in the expected manner. Charlie’s choice is just as selfless as ever, with his concern being Desmond’s survival and the salvation of his friends. More than the previous episode, Charlie’s sacrificial choice is an active decision. He could have run out the door, but he understood that Desmond heard Penny’s voice and would happily let himself drown to speak with her.

Some criticized the notion that this sacrificial moment is a progression for Charlie, but it’s a subtle distinction from his former behavior. While Charlie has nearly died on several occasions, and he’s been willing to toss himself into harm’s way to save Claire and others, that’s a reactive decision. It’s been a matter of personal gain or spur of the moment. In this case, Charlie made the decision to sacrifice himself, took steps towards that end, and mentally prepared himself for his own end. All that matters was the mission. That represents Charlie’s redemption: making a familiar choice, but this time, for the right reasons.

The subplot on the beach may have been less substantial than the flash-forward, the road to rescue, or Charlie’s sacrifice, but it managed to pull off the most satisfying moment of the finale. Hurley’s unexpected rescue, using the van from “Tricia Tanaka is Dead”, once again proved that the character has depth and purpose. He was also present for one of Sawyer’s less heroic moments.

For all that Sawyer’s killing of Tom plays off yet another element of the first season, it also speaks to the darkness that is eating at Sawyer’s soul. This is entirely appropriate. Sawyer may have the opportunity to redeem himself and find a life beyond Sawyer and revenge, but that doesn’t mean that finding himself will be a quick and easy process. James Ford has a great deal of potential, but days after killing his nemesis, he’s still Sawyer.

Beyond that, the episode is full of little moments of near perfection. Juliet’s attitude is spot on, making her survival to this point all the more satisfying. Speaking of satisfying, there’s Sayid and his Bauer-esque dispatch of his captor. There’s Mikhail and his unrelenting habit of surviving just about anything (and he probably survived the damn grenade, too!). There’s Bonnie and Greta, two characters that would have been fun to see again. There’s Ben and his rising panic, completely consistent with his character to date. And there’s the inherent tone of the episode, which makes it feel more like a film than a simple television episode.

Yet it all comes back to the “game changing” decision to open the narrative into the “future”, widening the scope in a powerful way and generating an entirely new realm of speculation and creativity. Those who read spoilers were probably underwhelmed, but familiarity does breed contempt, and one must have perspective. This gives the writers a means of keeping the series fresh while implementing an interesting and character-rich twist.

At the beginning of the review, “Babylon 5” was mentioned. As some fans might recall, shortly after the end of the third season, when the major conflict ended earlier than expected, some considered the rest of the series to be a matter of diminishing returns. Some might wonder if “Lost” will suffer the same fate. One must point out that there was a major contributor to the “Babylon 5” downturn (overstated as it is): an incredibly messy conflict over renewal and the likelihood of finishing out the series as intended.

“Lost”, unlike “Babylon 5”, has been given a clear timetable. The path to the end is in hand. The writers should not have to concern themselves with adjusting the narrative in anticipation of cancellation. As such, the plot and character arcs can unfold as desired. For those willing to let the story be told on the creators’ terms, this episode represents a promise that it will be more than worth the wait.

Final Analysis

Overall, this episode was a powerful season finale, changing the face of “Lost” in a major way while preserving the underlying elements that make the series unique. Fans will be discussing and debating this episode right up until the fourth season premiere, which feels all too far away for comfort. This is the perfect ending to a season that brought “Lost” back to its former glory.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 4/4

Final Rating: 10/10

(Season 3 Final Average: 7.9)