It was 2008 and you never ever understand exactly what sort of program Lost would be. The 4th season of ABC’s island secret returned in January after an eight-month hiatus– uncommon, stressful, alluring, back prior to whatever had an 18- month hiatus. Week-to-week, there may be flashforwards or flashbacks, brand-new characters presented, old characters reestablished, old characters extremely dealt with. The scope felt larger. Common episode logline, “Ben wakes up in the Sahara, flies to Iraq, then flies to London.” And yet it would be the quickest season, a simple 14 episodes, consisting of a three-part ending, back prior to every season had 10 episodes.
A humiliation of riches, is exactly what I’m stating, and after that there’s “The Constant.” Ten years back, on Feb. 28, 2008, Lost aired the 5th episode of the 4th season. It’s about a male unstuck in time, caught in complicated calculus, looking for real love.
Revisiting “The Constant” by itself can be odd. By season 4, tracking the higher serialized story of Lost was a microsecond-rewarding watching experience, particularly as moderated by my previous colleague/guru Jeff Jensen. (I presume half the things I observed on a rewatch, he currently blogged about a years back; think about all this extra product.) There are discoveries in “The Constant” weeks or years in the making: the very first look of the long-promised Freighter, the last verification that time travel is possible no flux capacitor needed. If you were locked into the Great Game of Lost, then possibly your mindblowing memory from “The Constant” was a painting of a horrible old ship.
But context collapse aids with “The Constant.” After all, the story of the episode is context collapse. Desmond (Henry Ian Cusick) is on a helicopter, taking a look at a photo of his precious Penny (Sonya Walger). The helicopter flies through a lightning storm, and now unexpectedly Desmond’s in the past. No more Jesus beard, say goodbye to Jesus hair: He’s a military guy, getting up in a Full Metal Jacket problem, with an unclear memory of flying a helicopter through a lightning storm.
And then Desmond’s back in today, the helicopter landing on a ship in the ocean. See now the Desmond of the present has actually been memory-wiped back to his previous self, prior to the Island, prior to the Numbers. Lovely: Here in the program’s most riotously complex episode, the primary character is the someone who has no idea about anything that has actually ever occurred on Lost
Is this why “The Constant” lives more in memory than numerous other Lost episodes? It assists, I think, that Desmond constantly appeared to be in his own extremely particular sort of TELEVISION program. His episodes were made complex, chrono-triggered and time-tossed, however his arc was the most uncomplicated: A Quest Toward Lost Love, a story so antiquated that it’s actually antiquated. (Penny is, obviously, called after the client partner from The Odyssey) Desmond’s stories constantly ran up versus the borderlands of folklore, dubious sticking around Big Bads and mad science. Those borderlands were far-off from anybody you ‘d call a Main Character On Lost Common for a Desmond episode, “The Constant” lowers initial/eventual hero Jack (Matthew Fox) to the function of Exposition Demander, the baffled audience member asking fantastic researcher Daniel Faraday (Jeremy Davies) to discuss exactly what the hell is going on.
Rewatching “The Constant” today, it struck me how peaceful the episode is. Everybody’s whispering. Amnesiac Desmond and Sayid (Naveen Andrews) are on a ship loaded with individuals they cannot rely on. Daniel is exposing the tricks of the time continuum in his hallmark low-gravel voice. In other episodes, flashbacks are revealed with a whoosh noise. As Desmond’s mind actually flashes back and forward, there’s no statement noise, simply timelines slipping through in a minute. (Charming: For the very first time on Lost, a character onscreen understands the flashbacks are occurring, the non-diegetic trope gone hyper-diegetic, like if one day Jack Bauer reached throughout the 24 splitscreens to get the most recent terrorist-affiliated wicked business white person, or if Darth Vader began humming “The Imperial March.”)
If you’re any of sort of TELEVISION watcher, you’ve seen the time-tripping episode done somewhere else by now, possibly much better. 2 years prior to “The Constant,” Doctor Who aired “The Girl in the Fireplace,” a lifespanning love toggling in between a far-future spaceship and Versailles prior to the Revolution. Today, Rick & Morty would circle the plot principle for “The Constant” 4 times prior to the opening credits end, and the most decaf CW superhero has actually fulfilled 2 alternate previous variations of their own mom.
What’s still sets “The Constant” apart? It assists, I believe, that writer-showrunners Carlton Cuse and Damon Lindelof frontload the sci-fi intricacy, then teeter unexpectedly into drastically genuine feeling. Past-Desmond flees to Oxford, where Past-Daniel discusses how time-travel illness works. The issue, see, is that Present-Desmond remains in an unusual location with absolutely nothing around him he acknowledges. He has to discover something on that Freighter to link his past to his present– or somebody
There’s this concept of Desmond that sets him apart from numerous other Lost characters. Everybody else is escaping from something, looking for curious tropical redemption from an unfortunate past, the drugs, the murder, the dad you betrayed or betrayed you. For Desmond, the past is the objective. He does not bring a photo of her, he brings a photo of them, his own previous self teasing him with a smile. Odysseus is the clear contrast here, however there’s something Full Gatsby in Desmond’s summary. He understands his dream is currently behind him, someplace back because huge obscurity, and so on. For him, the method forward is the method backwards– therefore he’s likewise an Ebenezer Scrooge, another yuletide time tourist borne back continually into the past.
Desmond’s story isn’t really as awful as Gatsby’s. (Or possibly it covertly is: His spread looks in seasons 5 and 6 dead-end into a strangely inefficient meaningless act of non-heroism, and among the last things he states on the program is, “It didn’t work.”) But there’s something a bit harder in the significance of “The Constant,” a concept that exceeds heroics: Not that you can alter yourself, however that you need to link yourself to who you as soon as were. The bearded wanderer of 2004 should reconnect with the boy he as soon as was, should develop connection in his own life.
That connection is Penny. She is an individual however likewise a token, a remembrance of lost time. This made Penny an icon in a couple of minutes of screen time, however it would strangely lower her as the program reached its endgame, and she began to feel more like a contrivance, a “love interest” in the most old-fashioned and grandest sense. There’s a more difficult variation of exactly what Lost ended up being where we see Penny’s journey as plainly as Desmond’s. Really, that might simply actually be Lindelof’s follow-up series The Leftovers, which tracked Kevin’s shamanistic hero’s journey prior to concluding that the Book of Nora provided harsher, deeper, tricker realities.
So is Desmond’s journey romantic, or egotistical? Is he looking for Penny– or the guy he was with Penny? No right response, and the secret obscurity remains since the execution is so damned best. In the past, Desmond goes to Penny’s home, pleads her to A) offer him her brand-new contact number, and B) get a telephone call from him on Christmas Eve in2004 That this scene operates at all is mainly due to Walger; you enjoy her efficiency as soon as to see her sticking around sensations for Desmond, and after that enjoy it once again to see a reasonable lady attempting to get her odd ex from her home. Past-Desmond ignores her door, searches for at the window, sees Penny close the drape. Present-Desmond makes a hail-mary telephone call from a satellite phone; exactly what young-ish adult individual kept the exact same contact number from 1996-2004?
But Penny responses! And there’s a Christmas tree! The episode’s director, everlasting Lost professional Jack Bender, ups the fast cuts, a close-up on Desmond, on Penny, on Past-Desmond getting a twinkle of hope. The closing door, the addressed phone, the lonesome boy, that boy older and lonesome no more. Cent informs him she’s been searching for him for several years– so in fact, she’s Odysseus the globetrotting searcher, and he’s the client one waiting on the island kingdom. “I love you!” they state. Area and time collapse, and they’re together in London and the Pacific, 1996 is 2004 is 2008 is2018 Love is the response, which’s simply science, brotha.Related youtube video: (not from post)