Deus Ex Machina (a term derived from Greek drama and generally used to describe some kind of plot contrivance at the end of a story, especially in genre films and TV shows) is a landmark Lost episode in that it marks the first collaboration between Damon Lindelof and Carlton Cuse, who went on to become show-runners for the remainder of the series and form what is arguably the best writing duo in sci-fi television after Ronald D. Moore and Brannon Braga (the ones who made Star Trek: The Next Generation really good and wrote the First Contact movie). It's also the show's second Locke-centric episode, with more revelations in store for the most intriguing of the survivors.
Finally dealing directly with the hatch subplot, the episode sees Locke and Boone trying to break the window, with pitiful results. Locke, who is starting to lose feeling in his legs, asks for a sign from the Island, and has a dream (presumably what the title refers to) that leads him and Boone into another part of the jungle, where they find a crashed plane containing Virgin Mary statues filled with heroin, a dead body and a radio that actually works. While the two make a shocking discovery, Jack has to help Sawyer, whose headaches indicate he needs glasses to correct near-sightedness.
The flashbacks reveal more about Locke's tormented past, taking place before his paralysis but showcasing another traumatic event: having been observed for days by a woman (Swoosie Kurtz), John finally confronts her and finds out that she's his mother, Emily Locke. Following their encounter, he decides to track down his father, and eventually comes face to face with Anthony Cooper (Kevin Tighe), who appears willing to reconnect with John. The comes the day when Anthony needs a kidney transplant, and Locke makes a decision that will have dire consequences.
Aside from the literary implications, the title Deus Ex Machina is also important in developing Locke's Island-related personality, establishing him as a man of faith, whose opinions clash with those of other survivors (most notably Jack, who as a doctor believes in science). It also relates to the notion of destiny and higher powers that has been introduced in the second half of the season, providing the show with a metaphysical angle that complements the philosophical allusions. The flashbacks are also very satisfying, with Terry O' Quinn playing the past Locke as totally different from the present one and the intimidating Tighe adding lots to the show's emotional weight. As for Somerhalder's work in the closing scenes... ouch!
Finally dealing directly with the hatch subplot, the episode sees Locke and Boone trying to break the window, with pitiful results. Locke, who is starting to lose feeling in his legs, asks for a sign from the Island, and has a dream (presumably what the title refers to) that leads him and Boone into another part of the jungle, where they find a crashed plane containing Virgin Mary statues filled with heroin, a dead body and a radio that actually works. While the two make a shocking discovery, Jack has to help Sawyer, whose headaches indicate he needs glasses to correct near-sightedness.
The flashbacks reveal more about Locke's tormented past, taking place before his paralysis but showcasing another traumatic event: having been observed for days by a woman (Swoosie Kurtz), John finally confronts her and finds out that she's his mother, Emily Locke. Following their encounter, he decides to track down his father, and eventually comes face to face with Anthony Cooper (Kevin Tighe), who appears willing to reconnect with John. The comes the day when Anthony needs a kidney transplant, and Locke makes a decision that will have dire consequences.
Aside from the literary implications, the title Deus Ex Machina is also important in developing Locke's Island-related personality, establishing him as a man of faith, whose opinions clash with those of other survivors (most notably Jack, who as a doctor believes in science). It also relates to the notion of destiny and higher powers that has been introduced in the second half of the season, providing the show with a metaphysical angle that complements the philosophical allusions. The flashbacks are also very satisfying, with Terry O' Quinn playing the past Locke as totally different from the present one and the intimidating Tighe adding lots to the show's emotional weight. As for Somerhalder's work in the closing scenes... ouch!
