I'm a big fan of visual storytelling. Film and TV are much closer to photography than written fiction, and it's great to see a show so completely embrace the principle. That said, was this episode really necessary? I mean, can ya get a little less subtle? Yes, Charlie is pushing and shoving and clawing his way out of the drug cocoon, and…. and the cave is his cocoon! Que sound of my mind blowing, I suppose. It's just brick-fisted and obvious in a way that isn't worthy of the show and what's come before.
A lot of it still works. Dominic Monaghan gives a taught, haunted performance, expertly layering grief and rage and overwhelming fear. Charlie and Locke have huge potential as a pairing. At first glance it looks like a contest between a wolf and a rabbit, but the quicksilver intelligence in Charlie's eyes promises something more. He's unpredictable in a way Jack will never be. If Locke can temper that with discipline and focus, he'll become a force in the group.
Beyond that, most of the plot isn't bad. Jack in the landslide is one of those big, predictable story beats that was probably necessary to open plenty of interesting possibilities in the larger group. Herald Perrinau's character (does he have a name?) showing some spine is a great touch, and gives him a purpose and level of engagement that the character hasn't yet had. Put it this way; I would've dreaded a flashback around that little family before this week, now it'll be painful but I won't necessarily want to perform some grade-a slittage of wrists. He and Locke are an intriguing possible interaction, and the geographic shake-up puts a lot of powerful personalities in a very small area.
Speaking of; Mr. Locke is in fine form this week. I wonder if the producers of Game of Thrones were Lost fans back in the day. There's a certain scene in the 1st season of the HBO show, with Tywin Lannister going all expository to his son while butchering a stag. It's a great, wildly bad-ass moment, and a seemingly direct echo of Locke and Charlie's little chat here. See, this is the kind of visual textuality the show should be aiming for. We learn something about Locke during the conversation, and probably more about Charlie. It creates atmosphere and audience identification, outlines a complex power dynamic with editing and shot choices. This is excellent pure filmmaking, working on a number of levels but always enjoyable as a simple entertainment. I can't say it's a great episode, but the flashes of propulsive badassery on display make it all worthwhile.
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