One thing that you can always say about Lost, the J.J. Abrams-produced ABC series that aired from 2004-2010, was that it always kept you guessing. Yes, the end of the show was a disappointment, confirming (I think – it’s been a while!) that the survivors of Flight 815 had in fact died, and that the beautiful but mysterious island on which they found themselves was a kind of purgatory serving as a chance for the characters to right wrongs and let go of the ghosts and regrets that haunted their lives prior to the plane crash. What made the show such an engaging experience, in my opinion, was the way in which it set up this central, ultimately unreconcilable mystery that asked – just what the fuck is happening on this island?
As a teenager with a burgeoning taste for science fiction and horror, Lost was perfect genre escapism, combining character-driven soap opera with set-piece action, cliff-hanger endings, and an overall sense of foreboding that led to some of the most impactful ‘twists’ seen on television (you only need to say the line ‘We have to go back!’ or ‘Not Penny’s Boat’ for a Lost fan to suddenly experience PTSD). You really never knew what you were going to see on screen next: a mysterious hatch unearthed in a forest, the presence of the ‘others’ on a seemingly isolated island, a deadly ‘smoke monster’ that appeared to act as some kind of security system. Polar bears. Fucking polar bears!
From, the 2022 mystery/horror/science fiction series produced by MGM and created by Lost alumni Jack Bender and Jeff Pinkner, offers another serial drama in the mould of that older show, with season two having just concluded as of June 2023. Like Lost, From is predicated upon a very similar formula: a single location, past lives and actions haunting our core protagonists, and the presence of mysterious forces that appear to be controlling events behind the scenes, their actions and motivations frustratingly unclear and often baffling in nature. I would normally be inclined to outline the central premise in more detail here, but I think it would be best for anyone thinking about giving the series a go, to watch episode one ‘Long Day’s Journey Into Night’ knowing as little as possible, as that’s part of the fun. Its blend of different genre tropes, mixing Horror (and certain specific sub-genres that I will, again, leave unremarked upon here) with Sci-fi and, to an extent, a soap-like focus on an ensemble cast of characters and their interrelations, is very reminiscent of the ABC series. Throw in Lost’s Harold Perrineau (Michael) and the echoes of the older mystery show become all too evident.
However, It is probably worth mentioning that this is a show located firmly within the realm of the horror genre, featuring elements of very graphic and disturbing violence and gore, something which it sets out very clearly in the opening act of episode 1. This is where the show departs from Lost most significantly, with the older ABC show shying away from the kind of visceral horror or violence seen here (its inciting plane crash was an incredulously bloodless event if memory serves). From isn’t, however, a gratuitously bloody slasher in the sense of A Nightmare on Elm Street or Friday the 13th, packing each and every minute of its runtime with exponentially violent kills and mayhem; it’s horrific when it needs to be, but does not dwell on such imagery beyond these moments.
Thematically, From seems more interested in exploring the nature of how humanity responds to unexpected crises, interrogating the kind of stubborn exceptionalism that can occur when certain people simply aren’t able to accept that there are things in the world that are beyond their control. Consequently, the series echoes certain societal behaviours that were prompted (or least magnified) by the Covid pandemic: there are certain characters in the show who, although not vocalising it in such explicit terms, would definitely prefer to conduct ‘their own research’, assuming they know more than the established wisdom and experience of those around them. We similarly see two different strata of the show’s societal group effectively embody the different reactions to the pandemic: playing it safe with routines, regulations, and rules or, instead, embracing the mantra of carpe diem and living simply for the present, one day at a time. Again, without giving too much away, a core narrative dynamic of the show sees characters having to retreat to the boundaries of their homes at certain times of the day, echoing in no uncertain terms the lockdown restrictions of 2020. As in the real world, strength lies in the community and its collaboration.
But beyond these thematic strands, I have been enjoying From for its mysteries and unanswered questions, above all else. It has its equivalent hatches, polar bears and smoke monsters, and part of the fun is in the attempt to piece everything together – the desire to theorise about the grand answer to the show’s central questions, even whilst knowing that we are most likely wrong, or more importantly, that they will not necessarily be answered at all.
Since watching the Season 2 finale, I’ve been immersed in the r/FromTVEpix reddit page, navigating from theory to theory, interpretation to interpretation – from the playful guesswork to the apparently all-encompassing ‘FROM COMPLETELY EXPLAINED’ type post that will no doubt be left without a leg to stand on a few more episodes down the line. This is the kind of active spectatorship I loved when watching Lost all those years ago – reading through theories and sharing interpretations of seemingly inexplicable narrative twists, dissecting scenes and moments, often frame by frame with the vague hope that you will be the one to stumble across the ANSWER before everyone else.
I’ve said enough. The mystery of From and your new labyrinthine tv obsession awaits.
The only thing I really have no explanation for is who the hell thought From was a good title.
Notes from the Multiplex 