Dead Is Dead

From minute one of episode one of the first season Lost has made us ask questions. Will these people survive? How are they going to cope with the crash? What tha heck is that howling thing in the jungle? Oh my god it ate the pilot! Oh damn, they fixed the radio, they might get hopes of rescue. Crazyfrenchladysaiswhat?! Oh how well did Charlie put it? "Where are we?".

But the show made it clear for me that it's not really the mysteries that make me go to other countries and spend ridiculous amounts of money on full season box sets. It's not the anticipation of finally finding out what that black thing is that makes me shed a tear or two out of compassion for one of those fictional characters.

The mysteries are only something to go along with the real stuff of Lost and that would be the amazing way that the creators weave their way into making those greatest-television-writing-in-years type of characters. The little something something of lost is in the little things. Like J. Locke playing Risk in his spare time at work. Or J. Shepherd's first dialogue with Sarah when she was lying on the table about to be operated on "But you're invited, OK?". And it goes further! Not only are the main characters extremely appealing, but so are some of the minor characters. I kept re-watching the scene where Sayid is sitting down chained to the floor when his previous torture victim told him about some cat she found(damn fine acting by that woman, damn fine, kudos). Or, in the same episode, the fact that John doesn't take a "no" for an answer and keeps trying to beat the chess game even though he was told it was "impossible".

Throughout five season (except for a minor setback in season three), the writers of Lost failed to disappoint. The gave something to cry about and something to laugh at and also something to hold my DVDs and think of them as something precious. But now, it seems as though someone decided to give out answers to everyone who ever asked.

In the end of season one Danielle takes them to the black rock and mentions a place where one of her crew lost his arm. So now we know how that happened.

We now know what exactly was it that made the french lady go insane. But that's the thing, I don't think any of us really wanted to know any of this stuff. And the creators of Lost are so eager to paint a very clear picture of the island that they forgot all about the good stuff. It's as if I'm reading a cold, just-the-facts kind of history book. But I liked it when we didn't know so much because that's the way life is and it gave us time to concentrate on someone's black horse or another person's resurrected father or some dude's food that seems to be stalking him and talking to him through a Korean dude dressed as a chicken.

What I'm trying to say, I guess, is that the show has lost it's subtlety. Giev it back plxktnxb.

Have a cluckity cluck cluck day.

"Dead Is Dead," directed by Stephen Williams, is a gripping episode that delves into the enigmatic character of Ben Linus, played by Michael Emerson, and his complex relationship with the island's supernatural forces. The episode explores themes of redemption, power, and the consequences of one's actions, as Ben is forced to confront his past sins and seek judgment from the island. The episode is notable for its exploration of Ben's motivations and the moral ambiguity that has defined his character throughout the series.

Michael Emerson delivers a standout performance as Ben, capturing the character's inner turmoil and the fear that drives him. The episode reveals key moments from Ben's past, including his manipulation of the Others and his role in the death of Alex, adding layers to his character and making his quest for redemption all the more compelling. The scenes between Ben and John Locke, played by Terry O'Quinn, are particularly tense, as Locke's resurrection and newfound confidence challenge Ben's authority and sense of control.

The script by Brian K. Vaughan and Elizabeth Sarnoff is tightly written, with a focus on character development and the exploration of the show's larger themes. The episode delves into the idea of karma and the belief that past actions inevitably catch up with those who commit them. The pacing is deliberate, allowing for a slow build-up of tension as Ben faces the consequences of his actions and seeks redemption. The writing effectively balances the episode's dark themes with moments of introspection and emotional depth, making it both engaging and thought-provoking.

Cinematography in "Dead Is Dead" enhances the episode's tense and foreboding atmosphere, with the use of shadowy lighting and stark contrasts reflecting the moral ambiguity of Ben's character. The direction emphasizes the psychological aspects of the story, particularly in scenes where Ben is confronted by the island's supernatural forces. The editing is sharp, ensuring that the episode's narrative remains focused and that the tension is maintained throughout.

The sound design and score contribute to the episode's intensity, with Giacchino's music underscoring the emotional weight of Ben's journey. The use of sound effects, particularly during the scenes involving the Smoke Monster, adds to the episode's atmosphere of unease and moral ambiguity. The sound design also plays a crucial role in heightening the tension during the episode's climactic moments, making them all the more impactful.

In conclusion, "Dead Is Dead" is a powerful and thought-provoking episode that delves into the moral and ethical dilemmas faced by Ben Linus. Michael Emerson's compelling performance, combined with strong writing, direction, and cinematography, makes this episode a standout in the fifth season of "Lost." The episode's exploration of redemption, power, and the consequences of one's actions adds depth to the show's ongoing narrative and provides a deeper understanding of one of its most complex characters.

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.

Season 4 was a solid season, with high points such as "The Beginning of the End", the three part finale and particularly "The Constant" and the only disappointments (though they were still decent) being "The Other Woman" and "Eggtown". "Because You Left" couldn't be a better way to start Season 5, definitely among the stronger 'Lost' season openers and one of the most confident and most settled. The episodes between that and this were also good to great, the weakest being a long way from low-points.

"Dead is Dead" is a great episode, albeit not one of the show's best, though the best since "LaFleur" after a slight previous three episode dip quality wise. It's taut and thought-provoking, providing new mysteries and questions as well as some answers here. The on-island events are tense, emotional and above all gripping.

On top of all that, it advances characters, shows plot progression rather than repeating itself or being filler. There are surprising moments and also illuminating ones. Seeing Locke again is always a pleasure and he is not wasted at all.

Also found "Dead is Dead" to be an episode full of entertainment value, edge of your seat tension and emotional moments. The more dialogue-driven parts is a case of it being thought-probing, relevant and adding a lot rather than slowing things down and rambling. The character dynamics, especially between Ben and Widmore and Ben and Locke, are surprising and with interesting perspectives and the little shocks do shock.

Can't fault the performances, particularly from Michael Emerson and Terry O'Quinn, the latter giving some of his best acting of the show.

Nor the stylishness and atmosphere of the visuals, nor the effectively understated and chilling use of music, taut writing and the tightly controlled direction.

Summing up, great. 9/10 Bethany Cox