'Lost's fifth season - The Verdict

Setting an end date for 2010 has undoubtedly helped Lost sharpen its focus and unravel a few mysteries during its largely impressive fifth and penultimate season. At times, the increase in elements of time travelling sci-fi put the show in danger of turning into a dull Physics lesson conducted by some tedious goat-faced teacher in a stale tweed jacket and cords. Yet fortunately the human components and thrilling conflict between characters more than compensated for the show's occasional lapses. Here is a look at the good, the bad - but not the Hurley - from the recently concluded season...


The Good


The love triangle on the island gained an extra axis and turned into a full-on love square as Jack, Sawyer, Kate and Juliet continued their liaisons and flirtations across the space-time continuum. Helping to offset the general Sun-Jin tedium, the decision earlier in the season to pair off the quartet paid rich dividends. A melancholic air pervaded the relations between Jack and Kate back in America, not helped by the gripping battle to hold onto Claire's salvaged baby. Meanwhile, Sawyer's decision to reinvent himself as Le Fleur - a recreation not dissimilar to that of McDonald’s claims to be a salad-promoting health conscious establishment - involved him shacking up with Juliet in the late 70s after joining the Dharma Initiative.

Inevitably the four were eventually thrown back together towards the end of the season, leading to proper fireworks involving a submarine hijack, Juliet's selfless suicide bombing and a brutal slugging session between the two Alpha males that no doubt elicited mass oestrogen secretions across the globe from their army of female fans. At least this Love Island didn’t need Paul Danan to be shipped out there to stir things up.

Off the island, Locke's endeavours as the mysterious Jeremy Bentham were a highlight, as he tried to lure the Oceanic Six back towards the island. A brief reunion with Walt provided a crowd pleasing moment, while Richard Alpert's message to Locke (from Locke!) that his death was the only way forward helped to ramp up the intrigue. The manner of Locke's eventual demise was shocking, as the saucer-eyed Benjamin Linus talked him out of a suicide bid only to kill him moments later!

The development of Linus and the exposition of his origins throughout the fifth season were fascinating, with Michael Emerson’s ambiguous portrayal as brilliant as ever. The searing battle with Charles Widmore was the foundation for several key moments, including the very revealing hesitation he experienced when his gun was trained on his enemy's daughter Penelope - someone he vowed to kill in retaliation for the death of Alex. The emergence of child Ben midway through the season, and his Other-orientated behaviour, also shed much light on the compelling character.

Although Ben escaped death, Daniel Faraday was not so lucky. In arguably the best pay-off this season, the scientist was murdered by his own mother after jumping back in time. The fact that she then brings up her son knowing what will happen to him makes the circumstances of Daniel's demise all the more poignant. Still, at least we were treated to the unexpected (if brief) return of Bernard and Rose a couple of episodes later - after the pair cheated death to set up their own geriatric jungle love shack.

Finally, for the most part the season kept fans keen to watch the next instalment by quickly pushing the plot forward while simultaneously unearthing the past and showering us with much needed explanations and revelations. Highlights included a guided tour of the Smoke Monster's lair, the banishment of Charles Widmore from the island, the account of Richard Alpert's role in things, Danielle Rousseau's turbulent arrival and subsequent baby theft, plus the surprisingly effective familial connection between ghost whisperer Miles and a certain Dharma Initiative legend. But as with many things in life, like, erm, Pringles, we can't help but want more...


The Bad


The season finale was a rip-roaring ride but ended on a very frustrating note that slightly tarnished an overall superb year. The long awaited emergence of Jacob was initially promising, with the character subverting our expectations by being young (and not Christian Shepherd!) and was played well by Mark Pellegrino. Yet his tinkering in the past affairs of various personalities coupled with a lack of background information - or even a few tantalising hints - culminated in the desire to bang one's head against the proverbial wall.

The whole 'Locke in a box' reveal was equally unexpected and annoying, given the bald adventurer's similar predicament in the last season finale - meaning that the sense of plot progression we felt was dented. Also, Juliet's sudden shift from turning the submarine back to the island to prevent the bomb, only to then change her mind against Sawyer and endorse the big bang, reeked of plot contrivance ahead of character credulity.

'X-Filesitis' is a disease that occurs when a programme disappears up its own backside by becoming too embroiled in its own, often impenetrable mythology and seeks to answer questions with more questions. Until the season finale, which also featured the 'What happens next?' cliffhanger after Juliet detonated the hydrogen bomb, such an infection had been flushed out of the system since the end date for Lost was announced. The emergence of symptoms circling around the true natures of Locke and Jacob need to be closely monitored - or else it's time to send in the Dharma sharks and polar bears.

Other frustrations included the proliferation of time jumping in the middle part of the season, as it wasn't only Charlotte and Sawyer's mob who were reduced to nausea and nosebleeds by the constant shifts. At times, it appeared as if the show's writers were like kids playing with a new toy, only for the novelty to finally wear off and perspective of what matters most fortunately regained. Also, the reluctance to clear up the mysteries surrounding Claire and Christian was disappointing and certainly leaves the final year with a lot to do.

Lastly, the new characters introduced to the island - via Flight 316 - weren't really given a fair crack of the whip and floated in and out of the plot without making much of a mark. For example, Ilana and Caesar were well cast and promised much, but beyond the former's hospital dalliance with Jacob they haven't been given a great deal to do despite their introduction many episodes ago.


The Verdict


The fact that such strong irritations have materialised right at the end of the season - despite an abundance of earlier mysteries being solved - does highlight the fact that Lost still has the power to toy with the audience. As long as it's provoking reactions, rather than apathy, then it's doing a sterling job. Superb performances and characterisations propelled the story along during the impressive fifth season, meaning that the eight-month wait until the next episode will be more agonising than being locked in the looney bin with Hurley and his imaginary dead friends. Or are they real? Someone pass the Paracetamol please…


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