Season 6 Episode 2

LA X (Part 2)

Aired Sunday 9:00 PM Feb 02, 2010 on ABC
out of 10
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Episode Summary

The aftermath from Juliet's detonation of the hydrogen bomb is revealed.

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  • nosense part 2!

    so like i was so confused during part 1 and then part 2i s the same nonsense. i dont like it. seriously what is this?? they show the temple and everything, but it dont matter cuz its making on sense anymore! seriously/! they continue being on the plane and island at the same time and its not possible! seriously! i cant stand this. been trying to figure it out for hours and I can't! Im not even trying anymore because its pointless. just nonsense. dumb producers & everyone else involved in this thing. no clue whats going on!! seriously come on!moreless
  • Now, that was confusing. As it should be. (Spoilers, of course)

    Lost was never about the mysteries. Ok, well, yeah, it is about the mysteries, but lots of shows are about things we don't know, that's nothing new. Lost is the only show out there who can keep piling up answers for six years without running out of questions. That, my friends, is hard. I mean, people credit JJ Abrams for knowing how to do it but, let's face it, he doesn't really. Fandom has accurately shifted praise to where it's due lately, in part tacitly acknowledging that Alias got too cheesy too fast and Fringe is a poor man's X-Files. But not Lost.

    We know pretty much everything at this point. We know about these two demigod figures battling it out by using proxy humans. We know about the island's powers of regeneration and time travel. We know there are timelines splintered from the main one and we have a pretty good idea of how time works in this universe. We know where every character came from and where most of them went. But we don't feel like that.

    What has been crafted here is a story that inhabits the soft, shifting space between a story and a puzzle. Where information that is guessed by audiences is considered information already delivered. That goes against every rule of screenwriting ever postulated. I'm serious. Every single one. Writers all over the world obsess about whether reiterating a plot element five or six times will be enough to keep it fresh in people's minds. Lost winks at you and shrugs and trusts that you'll keep up. For six years.

    Other people have attempted the same strategy, but they have typically been unable to move past a very basic hurdle: dropping a question out there and using it as a plot point leaves a lot of empty time. Since you haven't spent six scenes setting up that the red briefcase is really, really important, you are now six scenes short. And this is were you have a problem, if you're trying to pull off the Lost formula, because there is only one thing you can use to fill that time up: Stories.

    And to tell stories you need to be brilliant and engaging. You need to tell interesting stories about interesting characters in an interesting way. You need characters. To Lost's credit, this episode we see a guy in a wheelchair introduce himself to a doctor who has lost his father (literally and figuratively) for the second time, and it's still interesting.

    Oh, and there are temples, and resurrections and allusions to mythology and Benjamin Linus looking deliciously baffled and out of his depth.

    But you already knew all that.moreless
  • LA X serves as nothing more than a confirmation of extrapolated intricacies.

    This review is tailored for the entirety of the convergent specificity that was the premiere.

    It isn't so often that I would find myself enamored, to such a great length, by an entity whose prevalence, in accordance with my own initiative, amounts to not much more than escapist kitsch. Such is the case with Lost. The show, in all its transcendental negligibilities, when extracted to its most sincere form, and further ramified as to distend its poles, seems not to fashion pertinence in any manifestation whatsoever. Now, with this imparted, take it not to mean that the show is incapable of purveying one who, albeit of a simpler extraction, seeks not formulaic aberrance, but instead, the strictest opportunity for a mitigative immersion. To such an individual, Lost's penchant for respite is insuperable. However, this very penchant leaves vulnerable the show to an equitable scrutiny, and furthermore rebuke, if the premises conduce a dilatory quarrel amongst the aforementioned reprovers. Besmirched by its own structural indifference, Lost suffers, in the critical sense, as corollary to an assumed recalcitrance in regards to conventional deviations. I would hesitate in propounding that the information furnished by the premiere was ever unbeknownst to the viewer, and as such it engenders a tedium of, not only familiarity, but also repetition. Espousing, as foundation to one's swan song, of sorts, that what was once known has now been broadcast serves as an inherent flaw in the construction of what begs more exigent proceedings. Furthermore, augmenting the cast in hopes to sate a most gluttonous audience, relative to programs whose very existence demand inversities tantamount to the antiquated "wait and see" tactic employed by Lost, serves as an admission, in the most brusque sense, of the imprudence issued by the writers, and the impudence that they exhibited in forswearing their duties and obligations to the audience. Though, I am not taken aback. The procession was as expected.moreless
  • Hi all - I am here in Brasil and just saw the first two episodes. I am VERY disappointed at the producers and writers of the show. The show is introducing more secrets than solving the existing ones.. Japanese guy, alternative plots, ????moreless

    I thought the 6th season would start by solving the enigmas of all the previous seasons. The first two episodes added more weird stuff that is making the show look like some sort of bad sci-fi movie. For some reason, I thought we would have some sort of rationale explanation. For example, the smoke monster would be some sort of chemical invented by the darma folks to create allucinations on people. Also, the alternative plots are not fair - it is just like having a movie with two endings and the audience decides... This is not fair to us - we were expecting the writers and producers to make it sound plausible within the reality they created. Now, it is pretty much a mess, a disappointment to fans. Ok, I could buy the time travel plot, provided that substantiated with some scientific facts - quantum science or something like that. The way it is now, I bet we are going to have an ending for the series such as: it was all a dream by one of the characters, or it is all some sort of effect of a medicine Hurley took at the hospital for crazy people, or it is all part of scientific experiment by the dharma project folks - it is a controlled experiment where psychologists through crazy simulations at those folks to see their reactions. Those who die are out of the experiment... I was expecting something else - something in real time and real for the characters. Oh well... I guess I will have to live with my disappointment...moreless
  • The beginning of the end

    Every season of "Lost" has been dominated by a theme or unifying motif. In the case of recent seasons, it has been the treatment of various points in time as they relate to the big picture that is the "Lost" narrative. The fourth season introduced flash-forwards and the fifth season introduced parallel time periods. This season, it all seems to come down to alternate timelines.

    The interpretation is this: that the explosion of Jughead, in conjunction with the Incident, forced time itself to split into two competing timelines. The first is the familiar timeline that has been the setting of the series since the very beginning ("Lost Prime"). The new timeline represents a scenario in which the island essentially sunk into the ocean in 1977. Thus, everything that happened in the Lost Prime timeline between 1977 and 2004, when Oceanic 815 flew over the island, never took place in this new timeline ("Lost X"). Also, one would imagine that the events connected to Jack and his people during the Dharma years would never have happened.

    The idea being this: the two timelines pertain to the nature of the Incident in each timeline. In the Lost Prime timeline, the interaction of the nuclear warhead, the explosive electromagnetic anomaly, and the time/space anomaly at the Orchid tosses most of the people caught out of time back into 2007 (those within the vicinity of the effect, apparently), exactly as predicted in the review for "The Incident". So Lost Prime appears to still follow the same pre-determined rules: "whatever happened, happened".

    But in the timeline of Lost X, there would have never been a nuclear explosion to interact with the explosive electromagnetic anomaly. It appears that in the Lost X timeline, the Incident was simply the uncontrolled release of the energy from the electromagnetic anomaly. That, and perhaps some interaction with the time/space anomaly, could have displaced the entire island underwater in an instant, as seen.

    What would be the implications for Lost X? Any interactions between the familiar survivors of Oceanic 815 and those associated with the island would never have happened. The interconnections between them would still exist, if the island's inhabitants weren't involved. Perhaps most pertinent to the revelations in this episode, Sayid never would have shot Ben, Ben never would have grown powerful enough to force Charles Widmore into exile, and therefore Penny Widmore never would have existed. Desmond Hume would therefore never have been driven towards the race around the world that brought him to cross paths with Jack in Los Angeles before the flight.

    This would potentially explain why Desmond could be on the plane, even though he wasn't in the Lost Prime timeline. But it doesn't necessarily mean that Desmond's presence is just a coincidence. The fact that Jack thought Desmond looked familiar is not an accident, and Jack's curious neck wound seemed to come out of nowhere, even from the perspective of the character!

    And that might explain the importance of the Lost X timeline. Daniel Faraday may have been right to a certain extent: setting off the nuclear explosion at the time of the Incident may have opened a door that usually would have been shut. Instead of the pre-determined Lost Prime timeline, there is now an alternative: Lost X. But Faraday never expected that the two timelines would actually co-exist.

    This brings to mind one of the principles of quantum mechanics, as illustrated by the example of Schrodinger's cat. In short, if a cat is placed in an airtight box with a vial of poison that will trigger randomly, then at any given time, one cannot know if the cat is alive or dead. From a certain point of view, both possibilities actually exist in that moment: in one version of time, the cat is alive, and in another, the cat is dead. Those two possibilities co-exist until someone (the "observer") opens the box. Once the box is open, the observer then knows which possibility is "real".

    There are two prevailing interpretations of this principle. The first is the Copenhagen interpretation. In simple terms, this interpretation says that if there is more than one possibility, then all those possibilities co-exist until the moment of observation. At that point, something called "superposition" occurs: all the possibilities "collapse", leaving just the "real" result. The other potential realities effectively never existed.

    The second interpretation is the Many-Worlds Theory. In this case, for a given event, all possible outcomes are "real", but they all take place in their own separate timeline. These alternate realities typically don't intersect, although some versions of the theory disagree on the possibility and extent of any such intersection. In this case, just because one possibility is more likely, all other possibilities still continue to exist.

    The question is: if Faraday's plan brought about a quantum event, which interpretation is the one in play? The answer to that question will likely drive the purpose of Lost X. If it's the Many-Worlds Theory, then it may be as simple as showing that the desired outcome was not nearly what Jack and the others thought it would be. But frankly, that wouldn't justify the time spent on Lost X, unless there was some unforeseen level of interaction that would have an impact on Lost Prime.

    On the other hand, the Copenhagen interpretation could work, but there is the unfortunate side effect that either Lost Prime or Lost X would cease to exist. Potentially, if the "observer" were aware of both worlds, he or she could eventually have the ability to choose which timeline was "real". Consider the possibility: Jacob could know that his rival is manipulating events to ensure that someone arrives on the island that can help him gain freedom and achieve his goal, and there is no way to stop it. The alternative is that Jacob could ensure that events unfold as they have, creating an alternate timeline in which his rival is unsuccessful. All Jacob would need is an "observer", someone outside of the typical deterministic rules, to choose that alternative when the moment presents itself.

    The downside in such a scenario is obvious: it would feel as though the entire story amounted to a reset button, with the plane crash never happening. On the other hand, since the events of the series would have had to have happened exactly as they did, in order for Lost X to exist at all, it actually gives the entire series a purpose. For all that happened on the island previously, this period of time would be the most significant, because it could very well save the world.

    Of course, there's also the matter of the "observer" within all this speculation. The obvious choice is the one character that didn't fit in the Lost X sequence of events: Desmond. Desmond is already known to be outside of the established rules, ever since the implosion of the Swan Station, and it would explain why he was familiar to Jack X on the plane. Besides, if the Desmond/Penny relationship is central to the story, as the producers have often claimed, his decision to choose Lost X over Lost Prime, thus wiping out Penny and little Charlie, would be enormously tragic.

    On the other hand, Desmond's presence in Lost X felt like it was meant to expose Jack X's perspective more than anything else. It remains to be seen if any of the others caught up in the Incident will also begin to notice odd things about Lost X in future episodes. If so, any of them could be the one forced to make the critical decision, if that is in fact the direction that the story takes.

    But if all this is possible and viable, there is reason to think that Jack is the one who will end up making the call. It's simply this: the series begins with Jack waking up on the island after the crash of Oceanic 815. What if the seemingly better alternative, Lost X, turns out to be much, much worse in the end? What if Jack is left to make the same kind of choice that he made at the end of the fifth season, only in the hopes of ensuring the completely opposite result? Jack could end up choosing Lost Prime. (In which case, I would expect the final scene to be the exact same moment as the beginning of the series, bringing it all full circle.)

    At this point, there's simply not enough information to account for all the possible directions. What is apparent is this: there are now two distinct timelines being explored: Lost Prime and Lost X. How they relate to one another, if at all, is clearly going to be vital to this last chapter of the "Lost" saga.


    Beyond the structure of the story going forward, there were plenty of interesting tidbits. It has now been confirmed that Jacob's rival and Cerberus, the "smoke monster", are one and the same. This was essentially predicted in the review for "The Incident". This is consistent with the notion that Cerberus only took the corporeal form of those who had died. It is also consistent with the interpretation that the mural from "Dead is Dead" pertains to Anubis (Jacob) and Cerberus (Jacob's rival), in apparent opposition.

    But it does raise a different question. If Jacob's rival was taking the form of Jack's father, and Jack's father was apparently trapped in the cabin, that suggests that the ring of ash around the cabin was intended to keep Jacob's rival trapped there. If that was the case, how would Jacob's rival have roamed the island as Cerberus, the "security system"? Why wouldn't he have been confined, especially since he was clearly unable to cross the ashes in this episode?

    Jacob's rival states that his goal is to get home. The key questions are where, how, and why. It's possible that "home" is the Temple, since the Others (the ones Ben sent there before the third season finale, at the very least) were preparing to keep Jacob's rival out by various means. But Jacob's rival seemed to come out of its underground vent in the outskirts of the Temple. It explains why Danielle and others thought of Cerberus as a "security system" for the Temple, but it doesn't explain why Jacob's rival would be so closely linked to the Temple if that was his final goal. Instead, it seems likely that the constant connections to Egyptian myth and culture are a clue. The time/space anomaly in the Orchid connected to Tunisia.

    Using the form of Locke certainly pertains to the "how", as well as killing Jacob. Since taking on Locke's form is not appreciably different than taking on any other dead person's form as Cerberus, Jacob's death must change something that will allow Jacob's rival to do something he couldn't do before Jacob's death.

    That may have something to do with the color of the water from the spring in the Temple. Dogan was surprised by the color of the water; it was not clear as it had been in the past. This could mean that Jacob's death allowed his rival to enter the source of the spring, under the Temple, contaminating it. It seems pretty clear that Jacob intended to use Sayid as a new body, but that it was important that Sayid not die. It seems significant that the water was dark, and also that Sayid died and then seemed to come back to life. That hasn't happened before, and in conjunction with the apparent victory of Jacob's rival at this time, it points to Sayid being connected to Jacob's rival in some fundamental way.

    It all comes down to "why". Other than getting off the island, what purpose would it serve for Jacob's rival to go home? What does he stand to gain if he does escape the island to whatever he considers "home"? And for that matter, what would be the consequence, such that Jacob has been there for some indeterminate time to stop him?

    Obviously this only scratches the surface; the momentum gained by the decision to give "Lost" a definitive end date continues to drive the series to new creative heights. The writers are already beginning to answer crucial questions and provide perspective, even as those answers give way to new questions themselves. At this point, it comes down to whether or not the critical questions will be addressed. This episode has begun to provide the roadmap.

    Overall, this was another strong start to another highly-anticipated season of "Lost". Once again the format has changed, and once again it stands to open up storytelling possibilities that were previously unavailable. The thrust of the final season appears to be established, and now it's just a matter of letting it all unfold.moreless
Nestor Carbonell

Nestor Carbonell

Richard Alpert (Season 6, recurring previously)

Matthew Fox

Matthew Fox

Jack Shephard

Daniel Dae Kim

Daniel Dae Kim

Jin-Soo Kwon

Josh Holloway

Josh Holloway

James "Sawyer" Ford

Evangeline Lilly

Evangeline Lilly

Kate Austen

Yunjin Kim

Yunjin Kim

Sun Kwon

Mark Ahsing

Mark Ahsing

Customs Officer

Guest Star

David Coennen

David Coennen

Agent Smalley

Guest Star

Kesha Diodato

Kesha Diodato

Agent Anne

Guest Star

Fredric Lehne

Fredric Lehne

Marshal Edward Mars

Recurring Role

John Hawkes

John Hawkes


Recurring Role

Kimberley Joseph

Kimberley Joseph

Cindy Chandler

Recurring Role

Trivia, Notes, Quotes and Allusions


  • TRIVIA (6)

    • Black and white:
      While Jacob's Nemesis explains his motivations to Ben, he leans infrequently back into the darkness and forward into the light cast by the hole in the roof of the statue base.

    • Kate and the marshall go through security at LAX at a booth labeled 4F. 4 is one of "The Numbers".

    • After Jin is taken for questioning about his undeclared cash, the female airport security guard refers to Sun as "Ms. Paik", not as "Mrs. Kwon".

    • The book that Hurley finds in the cave is a french version of philosopher Søren Kierkegaard's "Fear and Trembling"

    • The door to the stall Kate is in at LAX is the only stall with a hinge that allows the door to swing out (piano hinge along the outside).

    • When Sayid is removed from the spring, his hair is soaking wet. Just a few seconds later, when he's being laid on the ground, his hair is much drier.

  • QUOTES (6)

  • NOTES (2)

    • Henry Ian Cusick (Desmond) is credited, but doesn't appear.

    • Original International Air Dates:
      Canada: February 2, 2010 on CTV
      United Kingdom: February 5, 2010 on Sky1/Sky1 HD
      Portugal: February 9, 2010 on Fox
      New Zealand: February 17, 2010 on TV2
      Finland: February 25, 2010 on Nelonen
      Norway: March 10, 2010 on TVNorge
      Germany: March 24, 2010 on Fox
      Sweden: April 7, 2010 on TV4
      Czech Republic: April 12, 2010 on AXN


    • Fear and Trembling: The book found in the Temple is "Fear and Trembling" (original title: Frygt og Bæven), an influential philosophical work by Danish philosopher, theologian, and psychologist Søren Kierkegaard, published in 1843 under the pseudonym Johannes de Silentio (John the Silent). The title is a reference to a line from Philippians 2:12, "...continue to work out your salvation with fear and trembling."