"This show is about people who are metaphorically lost in their lives, who get on an airplane, and crash on an island, and become physically lost on the planet Earth. And once they are able to metaphorically find themselves in their lives again, they will be able to physically find themselves in the world again."
– Damon Lindelof, co-creator of Lost
When I think about the first season of Lost, I often think of it as a season of superlatives. It has the best pilot episode in TV history. It's the best debut season of any show in TV history. It is, at least in my estimation, the single best season of television ever produced. Although I hated much of what the series eventually became, it's on the foundational strength of its first season that I still consider Lost my favorite TV show of all time.
I had watched the first season of Lost in full three times: once by myself, twice with friends. On September 22, 2024, twenty years to the day since the original series premiere, I started watching it for the fourth time.
It is still the best season of television ever produced.
Episode Tier List
S-tier
- Pilot
- Walkabout
- White Rabbit
- Deus Ex Machina
- Exodus
A-tier
- Tabula Rasa
- House of the Rising Sun
- The Moth
- Confidence Man
- Solitary
- Raised by Another
- All the Best Cowboys Have Daddy Issues
- Special
- Outlaws
- ...In Translation
- Numbers
- Do No Harm
- The Greater Good
B-tier
- Whatever the Case May Be
- Hearts and Minds
- Homecoming
- Born to Run
Notes
* In addition to the above superlatives, I'll also point to "Walkabout," the first John Locke episode, as the single greatest episode of TV ever made, with its last five minutes the greatest scene in TV history, but those are competitive categories.
* In terms of story continuity, Season 1 is fairly tight and I could almost believe that it was planned out from the start, despite being aware of how in real life most of the long-term mysteries and mythology weren't introduced until after ABC picked up the show for a full season and the writers had to come up with something to fill another 20 hours. But one thing in this season that's always stuck out to me as a pretty weak retcon is the revelation that Locke was the one who knocked out Sayid and destroyed his transceiver in "The Moth."
LOCKE: The first week after the crash there was a cave in. Jack was trapped. Do you remember that?
SAYID: Of course.
LOCKE: You, Kate and Sawyer went out into the jungle to try and triangulate a signal.
SAYID: Yes.
LOCKE: You were hit from behind—knocked unconscious? When you woke up your transceiver, your equipment was destroyed. That was me.
SAYID: This is one time you'd better not be telling the truth.
LOCKE: I did what was in everyone's best interest.
SAYID: You ruined my chance to find the source.
LOCKE: The source of a distress call that kept saying they're dead, it killed them all, over and over? Is that a place you really want to lead people to?
SAYID: Why wait all this time? Why not tell me then?
LOCKE: Because back then you wouldn't have engaged in reasonable debate, and nobody else would have. You were all so focused on getting off the Island that you weren't seeing things clearly.
This exchange where Locke makes his confession in "The Greater Good," an otherwise strong episode, feels distractingly weak, like the writer got handed the assignment to work an explanation into his episode for this lingering mystery left over from the beginning of the season and just wanted to get past it as quickly as possible. "It's me, Austin! It was me all along, Austin! I kept it a secret for fourteen episodes but I'm telling you now for no reason!" Earlier in "The Greater Good," Sayid tells Locke that he knows when he's being lied to. Yet Sayid questioned Locke about the incident back in "Confidence Man" and had no clue that Locke was giving him the runaround. Not that Sayid should be a superhuman lie detector (he's not Emma Swan after all), but the discrepancy is noticeable enough to make this scene feel half-assed and unplanned. It smacks of the terrible and lazy writing habits the writers would develop in later seasons, either making up completely nonsensical bullshit excuses to avoid answering questions or answering them in the most perfunctory and resentful way possible.
* The only other story element in Season 1 that feels similarly desultory is the saga of Kate's stupid toy airplane. "Whatever the Case May Be" has a decently fun on-island story, with Kate, Jack, and Sawyer competing with one another to obtain the U.S. Marshal's Halliburton case and find a way to open it, but it's made one of the weaker episodes of the season by its pointless flashback story, which is completely wasted on building up the mystery of this pointless toy plane. The payoff, such as it is, comes in "Born to Run," where we learn that Kate cares so much about the plane because it's a keepsake of her childhood friend who was later killed due to Kate's thoughtlessness. You can see how that might have seemed like an okay idea at the time, but aside from an awkward scene in the season finale where the Marshal essentially just monologues to the camera for five minutes to explain the convoluted back story of the plane and why it mattered enough to have wasted so much time on it, neither the plane nor Kate's friend is ever seen or mentioned again for the rest of the show. So in retrospect it sticks out like a sore thumb. They had two decent ideas for Kate-centric stories in Season 1, but because Evangeline Lilly was so hot they stretched that second story across two episodes. As a result, "Whatever the Case May Be" and "Born to Run" both ended up feeling weaker than they might otherwise have been. Lose the lame bank robbery flashback.
* "White Rabbit" is my second favorite episode of the season after "Walkabout"; sometimes I think they're equally good. But it's kind of a bummer hearing Charlie desperately yell "I don't swim! I don't swim!" as he's searching for someone to save the woman drowning right in front of him. In the Season 3 episode "Greatest Hits," Charlie reveals, "I was junior swim champion in Northern England. I can hold my breath for four minutes." The plot of that episode actually hinges on Charlie's swimming ability. Did they just forget about what he said in Season 1? "Greatest Hits" is a great episode but it could have played out nearly the same without explicitly contradicting another great episode. People will try to justify this plot hole by saying that Charlie couldn't save Joanna because he was strung out on heroin at the time so he lied about not knowing how to swim. Um...
*
"Homecoming," the season's second Charlie episode, features a mostly
unnecessary flashback. The rematch against Ethan is tense and exciting,
but it's somewhat anticlimactic how easily Jack beats him despite
getting his ass thrashed last time. This episode would have been better
off keeping the deleted scene of Locke stabbing Ethan prior to his fight
with Jack, explaining his defeat. Unfortunately, aside from this one
promotional still, no footage from this scene has ever been released.
* I feel comfortable putting "Hearts and Minds," the season's Boone-centric episode, as a B-tier episode because its on-island story feels undercut by essentially being all a dream/bad trip. Despite the important character development, it ends up feeling like filler because the most exciting things that happened didn't actually happen. I wish they had found a way to write it that felt like less of a cheat. But I still feel a little bad because I think the flashback is great and it has one of the most memorable scene transitions in the entire series. The soundtrack grows more urgent as Shannon and Boone fall into bed together and then all the sound cuts out and it hard-cuts to Boone sitting hunched over, naked and pale, at the bottom of an otherwise black frame, out of focus so you can't even tell what you're looking at at first. Shannon says his name in the dark, then clicks on the lamp and is revealed sitting on the other side of the room fully clothed.
SHANNON: When we get back to LA, you should just tell your mom that you rescued me—again, just like you always do. And then we'll just go back.
BOONE: To what?
SHANNON: To what it was.
BOONE: Like it's all up to you.
SHANNON: [contemptuously] Get dressed.
I can't say enough good things about the editing, framing, blocking, and acting in this scene, and how it reveals so much about the characters. You almost don't even need the dialogue, but I've often found myself hearing Boone's hollow "Like it's all up to you," in particular situations, for the last twenty years.
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Yeah I've had this drug-induced fantasy before. |