Lost Season 3 – Episode List & Guide

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3.01 – A Tale of Two Cities: B

“A Tale of Two Cities” is the season 3 premiere, and it picks up immediately where season 2 left off – with the survivors in a whole lot of trouble. More important than their travails are the undercurrents of perception and psychological manipulation. And while the episode is tightly focused on just a handful of characters, the overall impact of these themes is no less diminished. That being said, there are a few issues in terms of pacing and narrative that, as a result, detract from the episode as a whole.

3.02 – The Glass Ballerina: D

“The Glass Ballerina” is an episode which is, for the most part, smoke and mirrors – and not in a good way. It may seem like a whole lot is going on but, in fact, very little does until the final scenes. There’s almost no sense of urgency, despite the seemingly frantic events. The result is an episode which crawls at a snail’s pace, rehashing old material and poorly presenting new ideas and concepts.

3.03 – Further Instructions: C

“Further Instructions” is an episode that picks up on the other storyline left over from the end of Season Two. In terms of filling in the missing plot pieces, the episode is certainly worth watching. And it features some of the most enjoyable humor in some time. But as a character piece, it’s rather flawed and stodgy. The result is an episode that works in terms of narrative, but is otherwise rather unremarkable.

3.04 – Every Man for Himself: D+

“Every Man For Himself” is one big long con – for the audience. And you know, sometimes it’s fun to have a show con you, trick you into thinking one thing, then turning the tables on you. But if it isn’t done properly, the results can backfire. And that is certainly the case here. Instead of memorable twist, the episode is a relentless exercise in some of the worst melodrama seen this side of Battlestar Galactica. And despite some critics’ exaltations of the series (I’m looking at you, ew.com) comparisons to Battlestar Galactica are not meant as compliments.

3.05 – The Cost of Living: A-

“The Cost of Living” is an episode about fate and consequences. There’s a very tangible connection between the flashbacks and the episode’s main story arc. For the first time in a long while, Lost has managed to come up with a multi-layered story in which all (or at least almost all) of the elements work harmoniously. The result is clearly one of the best installments from the series in quite some time.

3.06 – I Do: C-

“I Do” dials back the subtlety in favor of ratcheting up the melodrama. This kind of an approach is a slippery slope for any series. After such high drama, there would normally be a lull as the characters, and audience, catch their breath and events settle. The danger is when a series becomes “addicted” to this kind of an approach to the point where every episode has to have some melodramatic effect. This led to the demise of any semblance of respect for the re-imagined Battlestar Galactica series. And I mention it here because, as Ben himself says in “I Do,” “After this everything will be different.” Let us hope that the melodrama isn’t just for the sake of poking at viewer emotions and is, in fact, part of evolving character arcs. At any rate, the table is set, the patient is anesthetized, the doctor is in … let the operation begin …

3.07 – Not in Portland: C

“Not In Portland” continues, at least in some measure, the melodrama that began in “I Do.” Fortunately, some of the drama is scaled back, however, the episode is primarily a narrative, plot-twist-based story which doesn’t provide a whole lot of character development or thematic exploration. That isn’t to say that the episode is empty – far from it. There are a number of visual and dialogue references to the Lost “mythos” as well as references to pop culture. It’s enough to make an otherwise unremarkable episode interesting enough for further exploration.

3.08 – Flashes Before Your Eyes: A-

“Flashes Before Your Eyes” is an episode focusing heavily on backstory. But more importantly, it presents a strong argument in the Fate v. Free Will question, leaning heavily toward Fate. Indeed, there’s an almost fatalistic aura to this episode that, as it draws to its conclusion, becomes almost oppressive (and depressing). And it presents a very difficult question: What if you had knowledge about events yet to happen and yet could do nothing to significantly alter them because, as the episode says, “the universe … has a way of course correcting.” It’s a heavy philosophical episode, wrapped in a tragic love story.

3.09 – Stranger in a Strange Land: C+

“Stranger In A Strange Land” is an episode dealing with, well, being a stranger in a strange land. How does one cope? How does one act? How does one learn about the “rules” of the land, and what are the dangers of breaking those rules? The episode is decent in terms of its characters and narrative, but it is otherwise unremarkable in terms of its attempts at depth and thematic devices. Perhaps its most enjoyable moment is the one at the beginning of the episode in which Sawyer sings, “Show me the way to go home …” in a reference to an iconic scene from Jaws.

3.10 – Tricia Tanaka Is Dead: B

“Tricia Tanaka Is Dead” is not an outstanding episode – but it is an episode that Lost sorely needed. And the fact that the episode was made creates even more respect for the series. After a string of very serious, melodramatic episodes we get what is, essentially, a comedic romp. And while the humor isn’t fantastic, while the story isn’t exactly engaging, the change in tone and style works very, very well letting viewers catch their breath before the series returns to more intense drama. It’s an episode like this one that separates Lost from other dramas, such as Battlestar Galactica. The ability to laugh, even in the most desperate of times, is a very human trait. And this episode further cements the fact that Lost is created with a sincere attempt at examining our humanity.

3.11 – Enter 77: C+

“Enter 77” is a riveting episode, ratcheting up the tension from the previous episode. Both the real-time and flashback sequences are heavy on tension and suspense – on finding out the truth, and gaining a measure of redemption. There is certainly quite a bit happening in terms of the overall narrative of the series, further deepening the mysteries of the Island and its prior inhabitants. As such, it’s a fairly decent episode, but it only provides anything truly exceptional as far as the flashbacks go.

3.12 – Par Avion: C

“Par Avion” is a step down from the previous episode. It certainly contains its share of plot twists and revelations and, on that level the episode is certainly enjoyable to watch. But there are issues with the characters which prevent the episode from achieving any measure of real success. It’s enjoyable, but it isn’t exactly very good, either.

3.13 – The Man from Tallahassee: C+

“The Man From Tallahassee” is an episode filled with irony and plot twists. It moves at a relatively slow and deliberate pace and considering the level of quality of Lost since the mid-point of Season 2, this episode is certainly a “typical” episode in terms of narrative. But the questions of character and theme are hindered by a contradictory story line. Instead of generating sympathy, the episode generates rather negative feelings toward its main character. Ultimately, “The Man From Tallahassee” is a worthy episode – even if it falls short of the standard set by the earlier episodes of the series.

3.14 – Exposé: C

“Exposé” isn’t exactly a bad episode. It just happens to be relatively pointless. The writers did their best to make the episode have some lasting effect on the series as a whole, but their attempts would have worked independent of this particular storyline. Indeed, the whole point of this episode seems to be that the show needed to trim some fat and create a clearer focus on characters going forward. There’s certainly nothing wrong with a show making some self-corrections along the way – and this attempt was genuine – but “Exposé” exists almost entirely in a vacuum. And those who have arachnophobia just might want to steer clear.

3.15 – Left Behind: C-

“Left Behind” is a marginally interesting as far as a few tidbits of exposition go – both in the past and in the present – but as an episode, it just doesn’t work exceptionally well. In fact, it goes from mildly interesting to downright silly … all thanks to an overindulgence in melodrama and writers trying too hard to be shocking and surprising.

3.16 – One of Us: B

“One of Us” is a strong episode. But it also nearly sabotages everything by trying to be too cute, too convoluted, too complex. The whole idea of having to fit in, to find your way, to look to your inner strength regardless of how formidable the circumstances may be is a universal theme, one that just about everyone can relate to. And on that level, the episode succeeds very, very well. But the proclivity toward melodrama, and toward making the plot have as many twists and turns as possible doesn’t allow for the real heart of the story to stand out. The result is an episode that certainly has surprises, but isn’t as successful as it might otherwise have been – had it kept a more focused, streamlined approach.

3.17 – Catch-22: B

“Catch-22” is an episode in which Lost once again confronts the themes of fate and choice, of destiny and free-will. And while it may not be as successful as earlier episodes, it is nonetheless a very strong installment for the series, greatly benefitting from the focus on its main character. In many respects, this is a well-balanced episode which moderates the melodrama just enough to allow the inner conflicts and thematic elements to shine through the surface of the story.

3.18 – D.O.C.: C

“D.O.C.” is a disjointed episode due to the fact that its two fairly prominent storylines do not mesh together particularly well. On their own, they’re mildly interesting, but together, the juxtaposition is awkward and neither story is either given enough room to breathe, or small enough to be allowed to be pushed to the side. The result is an episode that is only mildly successful.

3.19 – The Brig: B+

“The Brig” is a riveting episode which makes more than one prominent homage to Star Wars. But more importantly for Lost, the episode deepens the entanglements of the characters, shaking up the status quo, and turning the series on its head. Whenever a series does this, it runs the risk turning off viewers because part of what makes television shows so enjoyable is the familiarity of the characters – and when you drastically change characters, you fundamentally alter the show itself. Fortunately for Lost, it spent a great deal of time on character in Seasons 1 and 2. As a result, the changes fall (more or less) within what we already know about the characters. In that sense, Lost manages its reinvention with far more craft than Battlestar Galactica did at the end of its second season. But that doesn’t absolve Lost of its own mistakes – most notably its continuing tendency to rely on the smallness (or pettiness) of its characters, rather than on their decency.

3.20 – The Man Behind the Curtain: A-

“The Man Behind The Curtain” is a pivotal episode for Lost. Along the way it provides a great deal of information about the Island and those who lived there before the crash of Oceanic Flight 815. In many ways, though, the episode is a bit like the characters themselves, claiming to say a lot, but revealing precious little – or, at least, not giving a full, complete answer to the many questions that arise about the Island and its mysteries. Perhaps the most intriguing element to the episode is an idea it borrows from HBO’s short-lived series Carnivàle.

3.21 – Greatest Hits: A

What if you held your fate in your hands?

I suppose, everyday, we do hold our own fate in our hands. But just imagine if you were faced with your ultimate fate, your death. What if you knew that your death could mean something? Could you sacrifice yourself – make that ultimate sacrifice – just for the chance that others might be better off? How would you spend those last possible moments in your life? At the end, what is left of our lives? “Greatest Hits” sets out to explore where those questions might lead.

3.22 – Through the Looking Glass: B+

“Through The Looking Glass” is an epic end to the third season of Lost. And the episode certainly holds nothing back. Put simply, it delivers enough thrills, twists, revelations and developments to be worthy of a season finale. And yet … and yet it isn’t quite as good as the season-ending episodes of the first two seasons. That isn’t to say that the episode isn’t monumental — for the series. But compared to “Exodus Pts. 1 & 2″ at the end of Season One, it isn’t quite as universally compelling.