Teadmata kadunud Special (2004–2010) watch online HD

John Locke is teaching Walt Lloyd to throw knives, and Michael Dawson feels jealous with the situation. He forbids Walt to meet Locke, and recalls his romance with Walt's mother Susan Lloyd (Tamara Taylor). Walt becomes upset with the situation and decides to hike with Vincent into the woods. Locke and Boone Carlyle find Claire Littleton wandering in the forest.

"Special" shows the relationship of Michael and Susan since they were sweethearts, and how Walt was separated from Michael. I liked this episode a lot, and the intriguing end with the mysterious appearance of Claire made me rush to the next episode. The surprising scene when Michael is hit by a car is amazingly and scarily perfect. My vote is nine. My vote is nine.

Title (Brazil): "Special"

Note: On 21 March 2013, I saw this episode again.

"Special" is an episode I find hard to get through, due to its quality. To say the least, "Special" is a bafflingly unappreciated episode of "Lost" and just an excellent script in every way imaginable. I find it hard to get through because the drama is so involving and because Michael is such an intensely involving character in my opinion. The scene where he has a phone conversation with Susan and then gets hit by a car is one of the most intensely effective scenes in "Lost" as a whole.

"Special" is almost entirely character-based. There is a minor subplot dealing with Charlie and Claire's storyline, but for the most part it revolves around Michael. Before the season two Michael-hate spread through fandom like a wildfire, "Special" seemed to be held in reasonably high esteem. Since, it has become, like anything else involving lots of Michael, the subject of much derision. David Fury's script is really superb and convincing in terms of its handling of character and dialogue in particular, and once again made me wonder what would have happened had he stayed on with the show.

Greg Yaitanes, responsible for the horribly-directed "Solitary", takes a mellower approach and displays a sizable amount of talent here. Consistently well-shot, "Special" moves at a fast pace with no truly annoying moments on a visual level. Giacchino's score for this episode is particularly good, although I know that is not a popular opinion.

"Special" is an intensely dramatic, stunningly well-acted, and involving piece of drama. The fans of "Lost" who have no time for anything but the dense mythology of the show get a reward for sitting through the episode with the surprise ending of the episode, but it's a shame they couldn't enjoy the rest of it.

9/10

Special is the second episode of Lost written by David Fury, following the riveting, Sayid-centric Solitary. Like the latter episode, Special places a lot of emphasis on romance - well, to some extent - and strained human relationships, bringing Michael Dawson (Harold Perrineau) and his son Walt (Michael David Kelley) to the fore.

The father-son relationship is put to the test when Michael realizes Walt has gone against his wishes and keeps spending time with Locke, who is teaching the boy how to use a knife. In order to spend more time with the kid, Michael asks for his help in finding parts of the plane wreck that can be used to build a raft. He later gets a chance to strengthen the bond when Walt is attacked by a polar bear, while the other survivors keep thinking about getting Claire back from the Others.

The Michael/Walt situation is further analyzed in the flashbacks, which reveal that Michael's ex-wife had obtained custody of the boy and taken him with her to Holland and Australia, where her new husband worked. After her death, Michael was allowed to get his son back because the stepfather believes there's something weird about him.

Like the Claire flashbacks, this episode's off-Island scenes throw in the suggestion that something's been in the works, with subtle hints related to the possibility that Walt possesses supernatural abilities. However, the mystery arc is generally overshadowed by moving character development: Kelley keeps being as interesting as he's been from the start, and Perrineau finally gets to show his skills on the show with a role that is a lot more complex and rounded than his earliest scenes in the series would have suggested. Not that the mythology is completely ignored: Rousseau and a "black rock" are mentioned, and the final scene is a guarantee that the Island storyline will be placed front and center in the next episode, confirming Lost's knack for cliffhangers.

When 'Lost' was in its prime, it was must-watch television. Remember first watching it, found it remarkably easy to get into, was hooked from the start and was on Season 3 by the end of one week. The general consensus is that the final season is a disappointment and cannot disagree.

After a dip in quality with "Whatever the Case May Be" and "Hearts and Minds", though to me they were far from bad episodes (just that after such a very good to outstanding run with the previous episodes they were steps down), "Special" very nearly is a special episode and sees an almost return-to-top-form for 'Lost'. My only complaint is the effects, which were less than special to put it lightly.

Otherwise, it was very difficult not to appreciate Michael finally seeing some development. As far as Michael-centric episodes go, "Special" is one of the best ones. An episode that sees him at his most interesting up to that point in the show, being the first episode to properly develop him, and one of those where he was much easier to relate to and empathise with, which is why it is a shame that they didn't continue with this later on.

"Special" is advantaged by very good performances all round, brilliant in the cases of Malcolm David Kelley and especially Harold Perrineau. The bond between Michael and Walt is both sweet and poignant, particularly in the letters and sunburned penguin drawing moments, and the flashback and back-story is one of the season's most emotionally impactful, heart-breaking actually, and intriguingly executed.

Dominic Monaghan's comic timing as Charlie was appreciated and didn't in any way feel out of place, giving "Special" some welcome levity even. The cliff hanger was a pretty good one. The story is riveting and beautifully paced, the script is one of the season's most taut and nuanced and the more intimate approach to the direction was refreshing also.

Visually, "Special" is well made with the island as beautiful and mysterious as ever and is beautifully shot. The music is understated and chilling, even beautiful at times.

Overall, great and almost special. 9/10 Bethany Cox

This episode, while it is one of the better ones in the show's run so far, is a bit topsy-turvy. For one, the flashback structure that makes it seem like Abrams and his team just don't know how to write a normal episode of television, is getting old fast. And the pacing here, the suspense, and the way they cut to the flashbacks takes away from the episode, and of course, there's the complaint that, at least until the end of the episode, we've still sort of forgotten about Claire. But this is a monumentally pivotal episode. We see the beastie, and Claire returns, and the long-awaited backstory between dynamic duo Walt and Mike (and Vincent) is explained.

First, I will share my thoughts about the plausibility of the events in this episode even happening. I've only seen up to here yet, so I'm assuming that the polar bear's existence on the island will be explained, but if it isn't, obviously, this episode is a load of crap. But I'm assuming it will be explained. After all, this is a science fiction show. No, my issue with plausibility is Sayid's map. They seem to have found it on the island, yet they aren't sure it's of the island, yet they decide that they should follow it blindly, and Michael says they should build a raft to escape the island on their own and he expects to, you know, find land. Firstly, it baffles me that Sayid, this mathematical genius, still hasn't figured out that you can tell where the plane crashed based on the most likely flight route it took (usually a straight line, but not always), the estimated time of arrival, and how long you had been in the air. There are literally only so many place you could be. And don't tell me it hadn't been charted on maps, because there are satellite maps that literally HAD to capture every island in the world. Put two and two together.

Aside from that, the end of the episode is executed poorly. Not because it's bad, just because it was a bad choice. When the viewer realizes that the beast is a polar bear, you don't then cut to the boring flashback of Michael and Walt having a heart-to-heart. When there's a polar bear on a tropical island, you don't cut except for commercial. Just my advice, I'm saying that it made the episode less dramatic than it could've been.

In Abram's defense, the directing here is fantastic. And I say Abrams because he did a fantastic job assembling a team of really, really great directors. And they aren't big names, they're just amazing at what they do.

So, this episode had highs and lows, but no middle-ground. I am awaiting an explanation for the polar bear.