The Layman's Answers to Everything

The meaning of life according to some guy who likes TV and stuff.

At the end of my last column, I asked whether the “variable” would prove to be an event that could change everything. The one thing that could have a domino effect on the outcomes of every event that followed. I wondered if this changeable event is what Ben and Widmore have been fighting for control of. After watching “The Variable,” I have to say “yes,” this is what the term is referring to. However, I’m still not so sure whether the variable will actually vary anything according to the mythology of the show.

While most mythological stories explore at least one or two truths about the way our world works, Lost is unique in that it explores hundreds of them. It’s almost as if Lost is a spiritual guidebook to life. While I sometimes joke around about it, I’m beginning to truly believe that fans of the show will be better equipped to handle the strange new world we are going to inherit in the upcoming years. Whether consciously or subconsciously, it is almost as if Lost is training us to be able to mentally handle the future. The Good Book says that the meek shall inherit the earth. Perhaps it was referring to Lost geeks.

There seems to be a pattern that determines when Locke and the gang are jumping in time on Lost. Whether it’s Richard Alpert telling Locke what to do when he next sees him, or Faraday telling Desmond to find his mother in the future, or Locke telling Alpert to seek him out in a few years once he’s born. So far, the jumps occur whenever a character is talking to another character about events from a different time. Perhaps fate is preventing the characters from knowing something they shouldn’t be privy too or maybe it’s time’s way of course correcting, but I believe there is a deeper reason why the time jumps are happening at that exact moment. And it relates to wisdom we can use in our real lives.

You can always be sure that the Locke-centric episodes will focus more on mythology than action and this episode didn’t disappoint. Between Locke’s creepy dream of Horace Goodspeed, his exploration of Jacob’s cabin, his conversation with Christian Shephard and an eerily entranced Claire, and the flashback scenes hinting at his strange childhood with appearances by an unchanged Richard Alpert, there were more than enough mysteries to keep fans occupied.

This is the first episode written after the writer’s strike, and to me, it felt like it. The story was rushed, the dialogue seemed out of place for the characters (i.e., Sawyer telling Ben that he’d kill him if he harmed on hair on Hurley’s head—since when does Sawyer care that much about anyone but himself?), and the action was kind of unbelievable at times (Sayid turning his head all the way around to notice Ben photographing him from atop a building behind him). In spite of this, or perhaps because of it, I also found this episode pretty funny.