Television Review: Live Together, Die Alone, Part I (Lost, S2X23, 2006)

Live Together, Die Alone: Part I (S02E23)

Airdate: 24 May 2006

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

Running Time: 44 minutes

Lost, upon its arrival in 2004, was heralded as a refreshing and innovative leap forward for television drama, weaving serialised mystery with character-driven depth. However, as the first part of its second-season finale, Live Together, Die Alone, Part I (S2E23), demonstrates, the show remained fundamentally a product of US broadcast television, bound by 20th-century conventions of structure and pacing. This was especially apparent in its approach to season finales, which were initially conceived as feature-length events only to be split into two parts for re-runs and international distribution—a format that often led to a first hour heavy with setup and a deliberate, sometimes ponderous, narrative rhythm.

The episode resolves the cliffhanger of the mysterious sailboat's arrival with a reveal that, while impactful, immediately layers on further enigma. Jack, Sawyer, and Sayid swim to the vessel to find a drunken, despondent Desmond Hume, a man whose apparent attempt to flee the Island has failed repeatedly. His story, told through extensive flashbacks, is where the episode finds its most compelling material. We learn he is a disgraced British Army veteran, approached by the powerful Charles Widmore (Alan Dale) to sever ties with his daughter, Penelope (Sonya Walger).The plot mechanics that deliver him to the Island, however, strain credulity. Upon learning Penelope is to marry another, Desmond resolves to confront Widmore by entering his around-the-world sailing race. His lack of a boat is solved by a chance encounter with Libby, who, in a moment of profound narrative convenience, gifts him her late husband's yacht, the Elizabeth, for free. This flashback structure is praised for its tight writing and emotional heft, particularly in establishing Desmond and Penny's romance, but the serendipity of Libby's involvement—coming so soon after her murder—feels like a contrivance designed to tighten the show's web of connections at the expense of organic plotting.

This sailboat arrival is seized upon by Jack as a tool for tactical surprise against the Others, complicating Michael's orchestrated trap. Jack's suspicion leads him to secretly dispatch Sayid, Jin, and Sun by sea to reconnoitre, while he proceeds with the doomed jungle expedition. The tension here is undercut by the clunky inclusion of a CGI-enhanced "Hurley bird," a moment of attempted spectacle that feels tonally jarring amidst the grim suspense. The jungle party's encounter with two Others, resulting in one being killed by Sawyer, forces the confrontation. Michael breaks down, confessing his betrayal and the murders of Ana Lucia and Libby.Hurley's devastated but passive response—a desire to simply return to the beach—is starkly countered by Jack's defiant command to press on, creating the episode's central cliffhanger. This moment crystallises the season's themes of trust and sacrifice, though Michael's abrupt, remorse-lite treachery continues to frustrate many viewers.

Simultaneously, the episode escalates the philosophical conflict within the Swan Station. Locke, disillusioned by the Pearl Station film, now believes the Button is a meaningless psychological experiment. Eko, however, demands its continuation. Locke's resulting alliance with a bitter Desmond—who has wasted years pushing the Button—leads them to instigate a lockdown, isolating Eko to test what happens if the countdown reaches zero. This storyline provides the episode's most gripping suspense, a high-stakes gamble with potentially catastrophic consequences, though some critics found Locke's drastic about-face from true believer to sceptic somewhat abrupt.

The episode offers tantalising glimpses into the Island's deeper history, most notably the remnants of a giant stone statue with only four toes, hinting at an ancient civilisation. Such moments broaden the show's mythology, aiming for an epic scale. This is juxtaposed with more prosaic, broadcast-friendly choices, such as the gratuitous fan service of having Jack, Sawyer, and Sayid strip to their waists for the swim to the boat—a transparent appeal to a segment of the audience.

Perhaps the most interesting structural choice is the decision to anchor the finale's flashbacks around Desmond, a character who had appeared only briefly before. This proves a masterstroke, as his perspective fresh from the outside world reframes the Island's mysteries. The flashbacks are widely regarded as some of the series' best, efficiently making him a immediately complex and sympathetic figure. This move also hints wisely at his promotion to regular status for the next season, a necessary infusion of new energy as the original cast dwindles following the departures of Ana Lucia and Libby.

In the end, Live Together, Die Alone, Part I is a meticulously constructed piece of television that exemplifies Lost's strengths and its inherent limitations. It delivers shocking revelations, deepens its mythology, and introduces a fan-favourite character with tremendous skill. Yet, it cannot escape the feel of a first act, its pace dictated by the commercial need to split a finale. Its most significant flaw lies in its over-reliance on coincidental connections—Desmond meeting Libby, just as he once met Jack in a stadium years before the crash.While these ties create a compelling sense of destined interconnection, they risk feeling manipulative and overly convenient, a shortcut to profundity that the series' most sophisticated moments never required. It is a powerful, if imperfect, prelude to the chaos and resolution that Part 2 would bring.

RATING: 6/10 (++)

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