So far Lost is having its second outrages season after the first one. Although the plot is mixed and the new characters are being adjusted day-by-day; it is still attractive for the "Lost Fans". It is attractive, because J.J. Abrams, Jeffrey Lieber, and Damon Lindelof -the creators- can still connect the stories so smoothly. For example, in the previous seasons we were amazed by Richard Alpert's visit to John Locke when John was a little boy. Now, this episode revealed us the reason of Richard's "unexpected" visit in 1960s. The other shocking story is Charles Widmore's bond to the island. The creators really know how to draw audience's attention to the show more, which is creating unexpected relations between the characters.
8 Reviews
Probably the most useful of the early Season 5 episodes
gridoon202411 May 2009
Warning: Spoilers
LOST Season 5 could be divided into three sections: episodes 1-5 (rapid white flashes / time shifts on the island, the Oceanic Six and their adventures back in civilization), episodes 6-7 (transitional), episodes 8-17 (white flashes stop, almost all of the characters - most notable exception: Desmond - are back on the island, but on different time periods). Out of these three sections, the first one is my least favorite, because although it started very promisingly with "Because You Left", eventually it devolved into a repetitive pattern of white flashes / time shifts that took some characters back to witness some events that we already knew had happened. The good thing about "Jughead" is that it doesn't follow that formula; instead, the on-island action stays on a specific time period (1954), and what's more in a specific time period that we knew nothing about so far. This allows for some important revelations (the H-Bomb, Charles Widmore's past, Richard Alpert's first (from his point of view) encounter with John Locke, "Ellie", etc.) that are relevant to past AND future episodes of the series. Also, Daniel finally confesses to Charlotte that he's in love with her, which makes her kind of glow. Meanwhile, the off-island action focuses on Desmond's quest to find Daniel's mother, and although this part has its revelations (Daniel's failed human experiment) and touching moments as well ("You're my life now. You and Charlie"), it doesn't come close to the previous Desmond classics. However, the green of the island and the gray of Oxford make an interesting color contrast. Best line of the episode: "Well, I wouldn't want to contradict myself". *** out of 4.
Good story, weak execution
TimeHonored30 January 2009
Warning: Spoilers
AdrianZ is correct: this story seems to have sailed in the writers' room (many great plot points are in place), only to have failed in the hands of its actual writers. The script failed not only in poor dialogue, but also in its poor characterization, and its inability to create magic out of many of the scenes.
Poor dialogue: *Desmond telling his son about the island of Great Britain, and then Penny making a non-sequitur into the Losties' island, while sounding as if she was talking about the same thing.
Poor characterization: *Penny seeming petulant over Desmond's troubles rather than concerned. Penny & Desmond's relationship should probably stay passionate & romantic. *All previous Desmond-centric episodes have worked so well in part because the character's so desperate and confused. Here, the search for Faraday's mom just doesn't seem that pressing.
Great potential, no magic: *As AdrianZ said, Desmond & Widmore; too flat. *The Widmore-is-Daniel's benefactor reveal; too long, and not creepy enough. *The emotional resolution at the end for Desmond to continue looking for Faraday's mom; too flat. *Juliet, Sawyer and Locke with the Latin-speaking Others; so what... *Richard interrogating Farady and co.; Richard doesn't have any power or intrigue--he's too congenial compared to what we already seen.
All this said, however, the island sequences were fast-paced, and were effective at both revealing some answers, and at setting up later plot points (e.g. the bomb).
Poor dialogue: *Desmond telling his son about the island of Great Britain, and then Penny making a non-sequitur into the Losties' island, while sounding as if she was talking about the same thing.
Poor characterization: *Penny seeming petulant over Desmond's troubles rather than concerned. Penny & Desmond's relationship should probably stay passionate & romantic. *All previous Desmond-centric episodes have worked so well in part because the character's so desperate and confused. Here, the search for Faraday's mom just doesn't seem that pressing.
Great potential, no magic: *As AdrianZ said, Desmond & Widmore; too flat. *The Widmore-is-Daniel's benefactor reveal; too long, and not creepy enough. *The emotional resolution at the end for Desmond to continue looking for Faraday's mom; too flat. *Juliet, Sawyer and Locke with the Latin-speaking Others; so what... *Richard interrogating Farady and co.; Richard doesn't have any power or intrigue--he's too congenial compared to what we already seen.
All this said, however, the island sequences were fast-paced, and were effective at both revealing some answers, and at setting up later plot points (e.g. the bomb).
A well done episode of Lost.
LolUrSoGai9 February 2009
Warning: Spoilers
"Jughead" is yet another fine addition to season 5, which is shaping up to be the show's best offering.
The island portion of the episode was exciting as ever - a very well directed episode that has some delicious twists. I loved seeing the others - in 1954 - and the introduction of the H-Bomb was very efficient too - yet another mystery to be solved. But hey; Lost is all about mysteries. I love stories driven by questions. The H-Bomb (Jughead) seems like a critical plot point that will be brought up sometime later. Another interesting development was finding out that Charles Widmore was indeed on the island before - a very surprising and sudden reveal. Well done.
This episode instead of focusing on the Oceanic Six focused on Desmond - this was the weaker part of the episode, as most of the Desmond plot was about him running around in Oxford. While I enjoyed seeing Penny give birth to Charlie(great homage to Charlie Pace!) and I liked Desmond confronting Charles Widmore, the rest was passable.
The cliffhanger was rather weak, seeing Charlotte pass out felt a little forced, but regardless, the episode was very satisfying. We learned about the others, Widmore, Dan's "other" side(experimenting with humans) and I enjoyed the little romance between Dan and Charlotte.
8/10
The island portion of the episode was exciting as ever - a very well directed episode that has some delicious twists. I loved seeing the others - in 1954 - and the introduction of the H-Bomb was very efficient too - yet another mystery to be solved. But hey; Lost is all about mysteries. I love stories driven by questions. The H-Bomb (Jughead) seems like a critical plot point that will be brought up sometime later. Another interesting development was finding out that Charles Widmore was indeed on the island before - a very surprising and sudden reveal. Well done.
This episode instead of focusing on the Oceanic Six focused on Desmond - this was the weaker part of the episode, as most of the Desmond plot was about him running around in Oxford. While I enjoyed seeing Penny give birth to Charlie(great homage to Charlie Pace!) and I liked Desmond confronting Charles Widmore, the rest was passable.
The cliffhanger was rather weak, seeing Charlotte pass out felt a little forced, but regardless, the episode was very satisfying. We learned about the others, Widmore, Dan's "other" side(experimenting with humans) and I enjoyed the little romance between Dan and Charlotte.
8/10
Others in the past
TheLittleSongbird21 June 2018
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 have been a better way to start Season 5. Definitely among the stronger 'Lost' season openers and one of the most confident and most settled.
"Jughead" has received mixed/divisive opinions here even with the high rating and can understand why. Personally find it a good episode myself, but nowhere near one of 'Lost's' best. There are also far better Desmond-centric episodes, that have more interesting stories and have more to Desmond's character, actually found the island events more intriguing.
Not without flaws. On top of lacking the tautness and tension of the best 'Lost' episodes, the dialogue can be too simple and lacking freshness, some of it can be uncharacteristically awkward too. The cliff-hanger is also a bit forced, Charlotte's story is not particularly interesting.
The island events generally are though, providing answers while also setting things up and doing both adeptly. There are a couple of shocks here too, especially as said with the reveals for both Richard's and even more so Widmore. Desmond's story does have heart though. Everything with the Others is not as confusing as it sounds either, though occasionally it could have been clearer.
Have nothing to fault the acting, especially from Henry Ian Cusick, Nestor Carbonell and Alan Dale. Terry O'Quinn can do no wrong either, and his role in "Jughead" intrigues a lot and one of the better faring ones.
Production values are stylish, the direction controlled and confident and the music understated and chilling. The writing has been much better though, something that is usually praised by me.
On the whole, good but could have been a lot better. 7.5/10 Bethany Cox
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 have been a better way to start Season 5. Definitely among the stronger 'Lost' season openers and one of the most confident and most settled.
"Jughead" has received mixed/divisive opinions here even with the high rating and can understand why. Personally find it a good episode myself, but nowhere near one of 'Lost's' best. There are also far better Desmond-centric episodes, that have more interesting stories and have more to Desmond's character, actually found the island events more intriguing.
Not without flaws. On top of lacking the tautness and tension of the best 'Lost' episodes, the dialogue can be too simple and lacking freshness, some of it can be uncharacteristically awkward too. The cliff-hanger is also a bit forced, Charlotte's story is not particularly interesting.
The island events generally are though, providing answers while also setting things up and doing both adeptly. There are a couple of shocks here too, especially as said with the reveals for both Richard's and even more so Widmore. Desmond's story does have heart though. Everything with the Others is not as confusing as it sounds either, though occasionally it could have been clearer.
Have nothing to fault the acting, especially from Henry Ian Cusick, Nestor Carbonell and Alan Dale. Terry O'Quinn can do no wrong either, and his role in "Jughead" intrigues a lot and one of the better faring ones.
Production values are stylish, the direction controlled and confident and the music understated and chilling. The writing has been much better though, something that is usually praised by me.
On the whole, good but could have been a lot better. 7.5/10 Bethany Cox
jumping through time, jumping around the plot, whatever (spoiler)
chrisdouberly29 January 2009
Warning: Spoilers
As it would seem, Lost is finally coming to its ultimate demise with its lacking yet increasingly confusing story line in which our heroes who remain on the island jump through time while the rest of us are trying to keep track of the oceanic 6 who are trying to get back to the island with the help of the protagonist Ben. I know where the writers are trying to take us in this increasing plot building show, but they have yet to give away a lot of missing information that well... with past episodes have made us want to keep watching. Now the writers I believe have dug themselves a hole in which they are trying to write their way out as fast as possible. It almost seems like they're making it up as they go along. This is a big disappointment, especially for me who has followed along since the beginning, but I guess you can't write the perfect squeal all the time. Just look at The Matrix. I hope this season starts to pick up, or I'll just stop caring.
A Complete Mess
claudio_carvalho6 February 2009
It is amazing how the incompetent "lost" writers of "Lost" have depleted the best TV series and turned into the most confused, paradoxical and incoherent story without resolving the mysteries of the previous seasons. In this messy episode, Desmond recalls his meeting with Daniel in the island and sails to Oxford to meet his mother, against Penny's desire. Meanwhile in the island, the group of survivors meets The Others in the past while jumping trough time. Charlotte faints in the last jump with bleeding nose. In the end, watching this puzzled episode was a complete waste of time. It is impressive finding favorable reviews in IMDb. My vote is four.
Title (Brazil): Not Available
16 April 2013
Desmond has a recollection and convinces Penny to sail to Oxford to meet Daniel's mother and he is forced to meet Charles Widmore, who is the sponsor of Daniel's research. In the Island, Locke and the group of survivors meets The Others in 1954 and Daniel tries to disarm a hydrogen bomb. Locke meets Charles Widmore very young and tries to convince Richard to tell him how to leave the island.
In this episode, we learn that Charles Widmore is one of The Others and that Richard really does not age. Charlotte faints in the last jump with bleeding nose and might be another mystery in the plot. My vote is six.
Title (Brazil): "Jughead"
Title (Brazil): Not Available
16 April 2013
Desmond has a recollection and convinces Penny to sail to Oxford to meet Daniel's mother and he is forced to meet Charles Widmore, who is the sponsor of Daniel's research. In the Island, Locke and the group of survivors meets The Others in 1954 and Daniel tries to disarm a hydrogen bomb. Locke meets Charles Widmore very young and tries to convince Richard to tell him how to leave the island.
In this episode, we learn that Charles Widmore is one of The Others and that Richard really does not age. Charlotte faints in the last jump with bleeding nose and might be another mystery in the plot. My vote is six.
Title (Brazil): "Jughead"
A good story which is unfortunately not very well-told
ametaphysicalshark28 January 2009
Warning: Spoilers
As different as "Lost" starting with season two is to the first season (or the first two thirds of that season), there has always been something which has made "Lost" distinctive as genre television, something which set the action episodes apart from other action shows, the romance-driven episodes apart from other shows with a heavy focus on romance, the episodes which were heavily focused on science fiction apart from science-fiction TV shows. No, it isn't the setting which did that, it's the writing. "Lost" has had its ups and downs, but only the first stretch of episodes in season three felt as... typical as "Jughead".
There has always been a spark to the writing on this show, something which occasionally appeared even in the weak episodes, and while "Jughead" is not a bad episode, mostly thanks to the Desmond scenes and the general story being told here, which is perfect material for classic "Lost" storytelling (even the hydrogen bomb, which is just poorly-handled here sadly), it is a poorly-written one, and featured some very poor guest actors. Elizabeth Sarnoff, not counting "Meet Kevin Johnson" and "Two for the Road", has never been responsible even partly for a truly great "Lost" script (and has been responsible for some of the very worst, including "Eggtown" and "Stranger in a Strange Land") and is undoubtedly the weak link in the writing team right now. "Jughead" doesn't only feature almost unrelentingly poor dialogue, but makes some very amateur and silly mistakes. No, this isn't me trying to give a lesson in scriptwriting to a far more experienced writer who writes for one of the best shows in television history, it's a frustrated fan expressing their opinion. There are certain things which are generally accepted as examples of bad scriptwriting, and I felt several of them were present, not only in the dialogue but in the structure and nature of the scenes themselves.
It hurts to write this even more since I love Desmond as a character, and thus far found all the episodes which focused on him to be excellent, and three of them absolutely brilliant ("Live Together, Die Alone", "The Constant", and "Flashes Before Your Eyes"). I'm not expecting much agreement from anyone with this review, but I do have to ask what on earth anyone found particularly impressive about the storytelling, characterization, or dialogue in this episode? Television is, for the most part at least, a writer's medium more than it is a director's medium, yet the episode's bright spots came in veteran director Rod Holcomb's first effort as director on "Lost" since "Hearts and Minds" in season one.
"Jughead" was a good story, but it wasn't good storytelling. The long-awaited reunion between Charles Widmore and Desmond, which had the potential to be something special, turned out to be mundane genre television and entirely predictable in almost every regard. Out of the episode's several plot twists only the reveal that Charles Widmore was once an Other as a youth was executed with any aplomb. I ask my fellow "Lost" fans to answer this one question: what about this episode is any different from the rest of genre television? I saw nothing fresh, new, or exciting about anything here. This show has nearly always been a tour-de-force of storytelling, but the writing here is so expected, predictable, by-the-book, and simplistic that I found it genuinely dispiriting. Rarely have I disagreed with the consensus as much as I do on this episode, which appears to have been very well-received. On the bright side of things, Locke's story this season is turning out to be very interesting indeed. Instead of seeming hokey or silly, the idea that Locke made his own destiny is in fact, so far at least, turning out to be the best move the writers have made with the character in several seasons.
There has always been a spark to the writing on this show, something which occasionally appeared even in the weak episodes, and while "Jughead" is not a bad episode, mostly thanks to the Desmond scenes and the general story being told here, which is perfect material for classic "Lost" storytelling (even the hydrogen bomb, which is just poorly-handled here sadly), it is a poorly-written one, and featured some very poor guest actors. Elizabeth Sarnoff, not counting "Meet Kevin Johnson" and "Two for the Road", has never been responsible even partly for a truly great "Lost" script (and has been responsible for some of the very worst, including "Eggtown" and "Stranger in a Strange Land") and is undoubtedly the weak link in the writing team right now. "Jughead" doesn't only feature almost unrelentingly poor dialogue, but makes some very amateur and silly mistakes. No, this isn't me trying to give a lesson in scriptwriting to a far more experienced writer who writes for one of the best shows in television history, it's a frustrated fan expressing their opinion. There are certain things which are generally accepted as examples of bad scriptwriting, and I felt several of them were present, not only in the dialogue but in the structure and nature of the scenes themselves.
It hurts to write this even more since I love Desmond as a character, and thus far found all the episodes which focused on him to be excellent, and three of them absolutely brilliant ("Live Together, Die Alone", "The Constant", and "Flashes Before Your Eyes"). I'm not expecting much agreement from anyone with this review, but I do have to ask what on earth anyone found particularly impressive about the storytelling, characterization, or dialogue in this episode? Television is, for the most part at least, a writer's medium more than it is a director's medium, yet the episode's bright spots came in veteran director Rod Holcomb's first effort as director on "Lost" since "Hearts and Minds" in season one.
"Jughead" was a good story, but it wasn't good storytelling. The long-awaited reunion between Charles Widmore and Desmond, which had the potential to be something special, turned out to be mundane genre television and entirely predictable in almost every regard. Out of the episode's several plot twists only the reveal that Charles Widmore was once an Other as a youth was executed with any aplomb. I ask my fellow "Lost" fans to answer this one question: what about this episode is any different from the rest of genre television? I saw nothing fresh, new, or exciting about anything here. This show has nearly always been a tour-de-force of storytelling, but the writing here is so expected, predictable, by-the-book, and simplistic that I found it genuinely dispiriting. Rarely have I disagreed with the consensus as much as I do on this episode, which appears to have been very well-received. On the bright side of things, Locke's story this season is turning out to be very interesting indeed. Instead of seeming hokey or silly, the idea that Locke made his own destiny is in fact, so far at least, turning out to be the best move the writers have made with the character in several seasons.
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