Catch-22

Look, I know this is Lost - the programme where there are smoke monsters, characters have visions of the future, and Charlie is a rock god not some tone-deaf cross between a weasel and the less lyrically gifted members of Spinal Tap - but, seriously, a vineyard in Scotland? And not just any vineyard, but a vineyard that produces £100 ($200) bottles of wine. Who harvests the grapes - the Loch Ness Monster? Good episode otherwise.

Since apparently I'm not allowed to leave it at that but need to witter on for several more lines before this is long enough to be submittable, I'd also like to know why, if that flashback episode from series 2 is to be believed, was Charlie brought up in a model council house from the 1950s - were his parents squatting in Paul McCartney's childhood home? And why does every member of his family have a different accent?

"Catch-22" potentially could have been an absolutely amazing episode but ends up being a very good one instead. The trouble with this episode, aside from the truly awful love rectangle/square rubbish, is that it coasts on its premise rather than taking full advantage of it. The flashbacks to Desmond's time in a monastery reveal how Desmond met Penny and the circumstances leading up to it, and why/how he started saying 'brother' all the time. There's one intolerably awful accent in the flashback (even worse than the Australian accent in "Numbers"), but it's mostly quite good, though again it doesn't go beyond the call of duty and do more than fill in the blanks. The main themes explored here with Desmond are ones we have seen in previous flashbacks, only done with less emotionality and verve. Similarly, the main on-island plot dealing with Desmond's fractured 'visions' which he believe will lead to a reunion with Penny is about as good as it sounds, but no better. The episode has an intriguing ending and doesn't interrupt the flow of the latter stages of season 3. The direction by Stephen Williams is disappointing.

When 'Lost' was in its prime, it was must-watch television. Remember first watching it, found it remarkably easy to get into, was hooked from the start and was on Season 3 by the end of one week. The general consensus is that the final season is a disappointment and cannot disagree.

"Catch-22" is not one of the best episodes of 'Lost'. It's not even one of the best episodes of Season 3. It's still a pretty good and very interesting episode however and is nowhere near one of the show's worst, as far as the previous episodes go it is significantly better than "Fire + Water" and especially "Stranger in a Strange Land" (a 'Lost' low-point), which were one of the few not good episodes of the early seasons to me.

It is not a perfect episode by all means. Count me in as another person who is critical of the romantic square subplot, that was rather cheesy and silly with enough moments to make one cringe. Didn't find that it advanced things much and that it was little more than filler.

Other than Desmond, none of the other characters really progress character-development-wise. There is some plot advancing and foreshadowing, but other episodes before and since do much better than this respect where there are things shown in them that are illuminating and shocking as well as advancing the more mystery-oriented aspects of the storytelling, not really enough of either.

Desmond however is very interestingly written with a different side to him that does induce some surprise. The flashback is also intriguing, as is the whole Desmond and Charlie angle that is the most surprising the episode gets, strange yes but not uncomfortably so.

All the acting is good to great, especially from Henry Ian Cusick, quite rightly too. There are some funny lines from Sawyer.

Visually, there is a lot of style and atmosphere, the music is chilling and understated, the script mostly intrigue and the direction is more than competent if not extraordinary.

To conclude, worthwhile but not a 'Lost' high-point. 7/10 Bethany Cox

"Catch-22" focuses on Desmond, exploring his premonitions and his struggle to change the future. Directed by Stephen Williams, the episode begins with Desmond having a vision of Charlie's death and a helicopter crash. Flashbacks reveal Desmond's time in a monastery and his relationship with Penny.

Henry Ian Cusick delivers a masterful performance as Desmond, portraying his desperation and determination with nuance. The flashbacks are intricately crafted, providing a deeper understanding of Desmond's character and his motivations. The interactions between Desmond and Charlie, played by Dominic Monaghan, add emotional depth and tension to the episode.

The writing in "Catch-22" explores themes of fate, destiny, and sacrifice. Desmond's flashbacks are seamlessly integrated into the narrative, creating a cohesive and emotionally resonant storyline. The episode's focus on Desmond's struggle to change the future and his moral dilemmas adds a layer of suspense and existential contemplation.

The cinematography captures the episode's intense and emotional moments, using innovative camera techniques and lighting to convey Desmond's altered perception of reality. The editing ensures a smooth transition between flashbacks and present events, maintaining a steady pace throughout. The sound design, featuring haunting music and ambient island noises, enhances the episode's mystical and emotional atmosphere.

In conclusion, "Catch-22" is a thought-provoking and emotionally resonant episode that delves into Desmond's character and the series' exploration of fate and destiny. Henry Ian Cusick's performance is compelling and multifaceted. The writing, direction, and cinematography create a rich, engaging narrative that adds significant depth to the series' overarching themes.