“Lost,” Episode 6, “The Other Woman”

Lost6juliet_2Where to begin?

This episode was packed with plot development — fabulously concrete, tangible, easily understood plot development, which is the rarest kind on Lost.”

First, the big picture. It’s a genius move to go back to flashbacks on one of the principle characters that we know the least. Filling in more Juliet’s story, and by association, Ben’s, was very, very satisfying, especially coming on the heels of the last few segs that were way more question-raising than answer-providing.

Most intriguing thing to me about our sixth installment — “The Other Woman,” penned by Drew Goddard and Christina M. Kim and helmed by Eric Lanueville (he’s come a long way from swabbing the halls on “St. Elsewhere”) — is how much it provided firm evidence of Juliet’s complicity in the Others’ dastardly deeds. We’ve grown to know her only in her heroic resistence-fighter mode, but in reality, she’s got some ‘splaining to do.

Sure, Juliet was duped into joining a super-elite research org, etc., but the progession of the flashbacks in this seg makes clear she knew a lot, if not everything, that Ben was up to in New Otherton: the dossiers on the survivors; snatching the tail-section survivors, including the kids (remember Zach and Emma?); heck, she even fingered Jack for Ben as being an Lost6jack_2 accomplished spinal surgeon.

When Ben starts dispatching his lieutenants as Oceanic 815 disintegrates over their heads, it’s clear that the focus is not on helping survivors, but somehow exploiting them. (How many times have we seen that scene? Yet each time there’s a slightly different perspective on the reaction in New Otherton, which makes for a creatively satisfying way for ABC to amortize a costly fx shot.)

At the same time, the flashbacks humanize Juliet even more by filling in her back story of having an affair Goodwin and being the object of Ben’s obsessive, possessive desire.

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  1. Phil says:

    I thought it was an okay ep. It was certainly better than “Eggtown,” but it’s extremely tough to follow an episode like “The Constant” (Best. Episode. Ever!).
    If it weren’t for all the Ben scenes, I would have been completely turned off by this episode. Michael Emmerson is truly a master at his art and shown that he plays his role to perfection! It’s sort of cute (but mostly creepy) that he’s really nothing but a man-boy who misses his childhood sweetheart.
    This is the first review of the episode that I’ve read that questioned a connection between Widmore and Sun’s mob boss father (and the connection’s been a long time coming, assuming it’s relevant!). Something lingers in the back of my mind that tells me that Sun’s Daddy was the phone bidder for ther Black Rock, and that Charles Widmore is “The Economist.”

  2. BigTex says:

    I’m gonna have to disagree with Cynthia on this one. Didn’t do much for me. While other eps go forward in leaps and bounds this was a baby step. I mean we already picked up Ben has a thing for Juliet and Goodwin was dead so why have so much fluff- did it really tell us something knew? Seems like a decent vehicle to introduce Harper but at the end of the day who cares? Does 90% of this show really tell is something meaningful we didn’t already know? I found the Widmore tie-ins and the possibilities with the Tempest presented the only interesting moments.
    I obviously suspend my imagination during this show but there’s always a couple things that sort of grind on me- when did Kate pick up those tracking skills that make it so easy for them to “find their way” and at what point did Juliet learn how to kick some ass? I know I know, it’s Lost and a great show, just sayin’…

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