Television Review: The Beginning of the End (Lost, S4X01, 2008)

The Beginning of the End (S0401)

Airdate: 31 January 2008

Written by: Carlton Cuse & Damond Lindelof
Directed by: Jack Bender

Running Time: 43 minutes

The Beginning of the End serves as a seismic shift in the landscape of Lost, marking a distinct departure from the show’s origins three years prior. When the series first premiered in 2004, it was a phenomenon defined by absolute ratings success and a spectacular, apocalyptic crash landing that introduced us to a disparate group of survivors stranded in a hostile environment. By the time this fourth-season premiere aired, however, the show was operating in a very different place. The narrative direction established in the Season 3 finale—both figuratively and literally—had pivoted the series away from the isolation of the beach and towards a more complex, multi-layered storytelling structure. The revelation that at least some of the regular characters had left the Island, coupled with the introduction of flashforwards rather than flashbacks, fundamentally altered the tone. The Beginning of the End was the start of a new era, establishing a premise where the audience knew the destination but not the journey, and where the characters' greatest victory was shadowed by profound uncertainty.

The opening sequence of the episode presents a stark contrast to the tragic genesis of the series. While the Pilot episode began with an apocalyptic plane crash that claimed the lives of many, this premiere begins with what the Losties would call triumph. The mission to establish contact with the outside world appears to have succeeded; the long-sought rescue operation is imminent. The Others, who had been the island’s primary antagonists for three years, have been seemingly crushed. Their ranks are decimated, and Juliet is seen dutifully digging graves for their former friends and colleagues. Even Ben, their once formidable and manipulative leader, is now reduced to a prisoner, exposed to constant beatings and humiliations. On the surface, this appears to be a happy ending, a resolution to the conflict that has defined the show’s identity.

However, this triumph is immediately overshadowed by violence, tragedy, and the looming spectre of factionalism within the victorious Losties. The first to realise that the triumph would be at least a little bit bitter is Hurley. In a moment of pure, unadulterated joy following the rescue, he executes a "cannonball" jump into the sea—a moment suggested by Jorge Garcia based on his real-life expression of relief after successfully completing Season 1 production. It is one of the very rare moments of pure bliss in the series. Yet, predictably, things start to go very wrong as soon as he raises his head above the water. He learns that his good friend Charlie sacrificed his life to conduct the mission. Even more devastating is the realization that Charlie's mission might have been for naught, as the rescuers might very likely be people with intentions as sinister as the Others.

This cynicism leads to the central conflict of the episode: the brutal physical confrontation between Jack and Locke. Jack, having confirmed himself as the de facto leader and reveling in the apparent success of the rescue, refuses to entertain the possibility of a trap. He is arrogant, driven, and blind to the nuance of the situation. This hubris leads him to a physical altercation with his rival, John Locke. The confrontation ends with Jack having to be restrained, but not before he fails to shoot at Locke. Jack’s life is spared only because, in his excitement and anger, he fails to check whether there are bullets in the revolver. This seemingly minor failure to reload is a critical narrative beat; it is an action that leads to a factional chasm. Locke suggests that those who don't believe in rescue join him in the abandoned Barracks. Jack and Kate watch as roughly half of the Losties, including Claire, Hurley, and Sawyer, take Locke's side. Just as they contemplate the devastating consequences of this rift, another person arrives at the Island by parachuting from the helicopter—a man played by Jeremy Davies, new character to the narrative.

The narrative structure is further complicated in the flashforward, which is set in Los Angeles. Here, we see Hurley revealed as one of those "happy few" – dubbed by the media the "Oceanic Six" – who have left the Island. Yet, Hurley is anything but happy. He is being hounded by apparent hallucinations that make him act erratically, leading the LAPD to pursue his vehicle and ending in police custody where Detective "Big" Mike Walton (Michael Cudlitz) suggests that he belongs in a mental institution. Hurley actually agrees with this assessment and ends up back at Santa Rosa Mental Institution, where he seems momentarily happy in his idyll. However, this peace is interrupted by a visit from a man who introduces himself as Michael Abbadon (Lance Reddick), who claims to be a lawyer representing Oceanic Airlines. Hurley also receives another "visit" in the form of Charlie, an apparent hallucination like those he occasionally experienced on the Island. Charlie tells him that "they" still need him. Jack, who is apparently in better mental shape than Hurley, comes to visit and Hurley apologises for taking Locke's side, also revealing that they must return to the Island, which Jack refuses.

The introduction of flashforwards, now firmly established as part of the narrative structure, serves very well as another interesting mystery box for the audience. We have some clues of what will happen—Jack, Kate, and Hurley leaving the Island—but we don't know how and why. The identities of the other "Oceanic 6" remain secret, just as the Island keeps some of their mysteries hidden. This structure forces the viewer to engage in a different kind of deduction, piecing together the timeline and the motivations of the characters based on fragmented glimpses of their future. Furthermore, the episode also shows that flashforwards, just like flashbacks, won't be in chronological order. Jack refusing to go back and mentioning the possibility of growing a beard—a feature of his character in the Season 3 finale—is a clear signal to the audience that the events of this episode precede those in Through the Looking Glass.

The episode also delves into the mechanics of the new dynamic with Naomi Dorsett. Naomi, who was considered killed after being hit by Locke's throwing knife in the Season 3 finale, is suddenly resurrected. She manages to, despite her injuries, sneak into the jungle, although she ultimately dies after being tracked by Kate. Before that she contacts the freighter via satellite phone, her lying about her condition gives hints about more complex moral alignment than initially apparent. Marsha Thomason plays the role well, but this resurrection is a little bit too convenient and not exactly believable, serving more as a plot device to restart the conflict than as a natural progression of the narrative.

Despite the convenience of Naomi's short-lived return, The Beginning of the End is a very good piece of television. As the first season premiere when the producers knew when and how the series would ultimately end, it carries a weight of inevitability that adds to its tension. It effectively resets the game, establishing a new status quo while simultaneously dismantling it. The episode balances the emotional devastation of Charlie's death with the exhilarating prospect of rescue, all while deepening the mystery of the Island and the characters' fates. It is a masterclass in pacing and narrative structure, effectively using the cliffhanger of the gun scene and the haunting visions of Hurley to keep the audience hooked.The Beginning of the End is not just the start of a season; it is the beginning of the end, and it does so with style, substance, and a satisfying sense of dramatic irony.

RATING: 7/10 (+++)

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