Note: This blog is counting down to the premiere of LOST's final season on Feb. 2 by spending the month leading up to it racing through every one of the previous 103 episodes. We're looking specifically at Christian/religious themes, other important or interesting concepts, literary references, and the theory that it's largely been about a game in which someone has won, and someone has... LOST. To follow us from the start, click here.

You might catch something you missed the second time around.

There's not much I like about crazy dogmatic dictator Locke right now, but the above quote is one of the few bits of wisdom he's speaking these days (and it makes me feel better about what I'm doing here, especially after I keep getting silly links sent to me like this one). Quite telling that Ben doesn't buy into the same philosophy, turning his nose up at being handed something he's already read. Perhaps Ben believes he's such a super genius that nothing could possibly have slipped past him. The rest of us? There's not a great work of art, music, literature, film or television that's caught our eye or ear which we won't visit multiple times. Watching this show this quickly and this closely a second time has drained me, but I'm the richer for it.

Here's some of the things I caught...

LOST Season Four, Disc Two: How am I Supposed to Win This Thing?

Episodes: 4.4 EGGTOWN (Kate-centric); 4.5 THE CONSTANT (Desmond-centric); 4.6 THE OTHER WOMAN (Juliet-centric); 4.7 JI YEON (Sun-centric)

Things That Stuck Out

If there's one minor thing that's bothering me about Season Four so far, it's that I'm finding a lot of things "too simple." And by this I don't mean island mysteries or anything, I mean plot devices. Lapidus landed a helicopter safely when no one else can arrive in anything but a twisted wreck? Why? Because we need a helicopter. Ben didn't tell anyone about his "man on the boat" two episodes earlier? Why not? Just because? What, he wasn't desperate enough yet? Hurley doesn't tell Locke what he knows about the Cabin, because...? In the real world people talk about weird stuff they see, especially when they know someone else is looking for it. Sawyer wants to know why they can't threaten to shoot Ben in the foot so they can interrogate a dangerous man. Locke says "because then we'd have to carry him." Really? That's why? Just drag the dude. Kate's prosecutor objects to Jack as a witness. The judge simply overrules. Because? Because the story needs him to. Kate insists that Aaron will NOT be "used" as a courtroom prop to generate sympathy even though her lawyer advises it because he has to make the case about character and thinks it's her only shot. Well, okay then, we can make it work without Aaron, because we have to. Kate gets off scott-free because... ? Because she brought Aaron back with her and Jack gave the performance of his life on the witness stand about what a nice lady she is? And her mom suddenly has a change of heart? These are Deus ex Machina type easy answers that I'm only willing to tolerate because I want to believe they are just helping us wade through some necessary details to get to the good stuff.


"Eggtown" starts with a character making eggs (Locke makes breakfast for Ben, who, last we saw at the end of the previous disc, was living it up as an evil assassin, so it's weird to see him all bloodied and imprisoned below his own house two minutes of screen time later). And instantly we're right back where we started in Season Two. Ben's locked in a room with a face that looks like hamburger, Locke's bringing him food and reading materials, Ben's not giving any answers, and Locke's throwing stuff in the hallway, and Ben's smiling back in his cell. I believe these recurrences are more than just a clever literary conceit, and suggest that time keeps looping back on itself... at least until some anomaly changes the fabric.