By Pentadact

The interminable filler episodes between each premiere and finalé were doing a pretty good job of killing my enthusiasm for Lost. And towards the end of season three, the silliness was just getting silly. There’s a character called Taller Ghost Walt. Jack’s dead dad got better. Ben isn’t really in charge, he takes orders from an invisible man who can cure cancer and lives in a teleporting shack but hates technology.

But then I enjoyed the very end of that season, in an I-don’t-really-care way. And now I’m enjoying the start of the new season, in an oh-wait-actually-I-do way.

Starting on a Hurley episode was a quick way to my heart. I could have done with less teleporting shack action, particularly since it now apparently has Jack’s simultaneously dead, undead and never-died dad in it, but even that is sort of entertaining from Hurley’s perspective.

Glad that the factions finally split, glad that Jack’s was so unpopular, and glad that, after he made his choice, it became woefully clear that The Other Others weren’t here to rescue them. Daniel, the nervous physicist with a gun, does such a dismal job of reassuring them that his every scene is comedy.

The Other Others, unlike most of The Others and The Tailenders, are mostly welcome additions to the cast - Daniel’s loveably neurotic, the pilot’s likeable, Miles The Angry Semi-Evil Techno-Exorcist is likeably dislikeable, and the woman will hopefully die soon.

I couldn’t tell you why the wilfull absurdity of Miles’ profession doesn’t grate with me the way the invisible cancer-curing teleporting luddite did. I think because it’s brief, and no big deal is made of it. That understatement also does wonders for the scene with Daniel’s bizarre experiment - it doesn’t overplay what happened there, but it’s fascinating if you got it.

Hello, dude from The Wire! Explain chess to us in Baltimore gang terms.

But the main thing I love about Lost at the moment is the darkness implied by what we’ve seen of the future. I’m really pleased they stuck with the great idea of switching to flash-forwards instead of flash-backs, leaving the island in the past and making it feel like the plot’s finally progressed. And I’m even more pleased about what they’ve shown.

Kate hates someone so much she can’t even be civil about his funeral (my bet is Michael, by the way). Jack hates his life so much he spends it trying to get back to the island. Hurley’s so haunted that he jumps at the chance to spend the rest of his life in an institution. And Sayid - Sayid is a hitman for Ben?

That’s the worst - and hence best - of it. They’ve escaped the island and they still haven’t escaped Ben. The weasely mass-murderer who seems to spend most of his life at their mercy, yet always end up back in charge. Hopefully the reasons for this won’t be as feebly contrived as Abram’s scoffable methods for keeping Ron Rifkin’s character ahead in Alias.

Graham points out that Lostpedia (from which these stills are stolen) is overflowing with absurd theories. My favourites are that a change in photo frames during the Miles flashback indicates an entirely new timeline, that the island is keeping Jack’s father alive so he can pay Sawyer back for a drink, and the entire Theories section on the nature and causes of Jack’s beard in the final episode of last season:

Jack’s beard

• Jack grows a beard because he’s become an alcoholic addicted to pain killers who doesn’t take care of himself because he is depressed.
• Jack’s stubble appears Grey on the island, but his beard is not in the flash forward.
  • He could have just dyed his beard.
    • Jack has become “an alcoholic addicted to pain killers who doesn’t take care of himself because he is depressed” but cares enough about his appearance to dye his beard to not look old.

Seeing the Lost game recently, which Damon Lindelof describes as “RIDICULOUSLY AWESOME!”, had made me forget that anyone involved with Lost was ever talented. I’m glad the fourth season started to remind me.