Season: 1-3, Episodes: 5, Faction: N/A
Liam Pace was the lead singer of Drive Shaft, and Charlie’s older brother.
As a member of Drive Shaft
3×21 – Greatest Hits
Charlie and Liam formed a band called Drive Shaft. Early on in their musical career, the group were driving to a gig, when suddenly one of their van’s tires blew during a heavy rainstorm. Charlie explained that he had had enough of band-life and was ready to quit, much to Liam’s dismay. Suddenly they heard “You All Everybody” on the radio for the first time, and celebrated. Charlie decided to stay with the band. (“Greatest Hits”)
Liam became a drug addict while touring with Drive Shaft.
One Christmas, Liam gave Charlie his great-grandfather’s DS ring, a Pace family heirloom that their mother had given to Liam. Charlie refused, but Liam explained that out of the two of them Charlie is the one who is going to have a family and live past 30. Charlie then said he would hold the ring for his brother but that he would not take it from him. (“Greatest Hits”)
1×07 – The Moth
Some time later, at a gig, Liam stole Charlie’s lines. Charlie became angry with Liam when he saw him retire to the dressing room just after their show with a girl in one arm and a wrap of heroin in the other. At another show, Charlie entered Liam’s dressing room, ordering Liam’s girls to get out.
The main singer had missed the sound-check, and seeing his brother in the state that he was in, Charlie asked Liam to make good on his promise to walk away. Liam refused, saying that without the band, Charlie was nothing, and he stormed out of the room. Just afterward, Charlie saw Liam’s heroin stash and took some of it, leading to his own addiction. (“The Moth”)
2×12 – Fire + Water
Because of Liam’s destructive habits, the band began to lose its magic, reduced to recording advertising jingles based on “You All Everybody”, their one hit song. For example, “You All Every Butties” was recorded as a commercial for Butties Diapers. However, Liam’s drug problems made even this impossible, as he was too wasted to be able to follow simple directions.
After Drive Shaft
2×12 – Fire + Water
Liam married a woman named Karen with whom he had a daughter Megan, named after his mother. He missed Megan’s birth while out getting a fix, an event that seems to have been key to him realizing that he needed to get his life back together. In order to get as far away from temptation as possible, Liam quit the band and sold Charlie’s piano (a gift of priceless emotional significance to Charlie) for plane ticket money to allow him to emigrate to Sydney. Karen’s uncle promised him a job in Sydney, and he successfully underwent rehab while there. (“Fire + Water”)
1×07 – The Moth
Liam refused Charlie’s offer to reform the band for a comeback tour, but offered to help Charlie overcome his addiction to heroin. (“The Moth”)
6×08 – Recon
In the flash sideways timeline, Liam went to the precinct of the Los Angeles Police Department where James Ford and Miles Straume worked to bail out Charlie who was arrested on Flight 815 on drug charges. (“Recon”)
6×17 – The End
He performed with Drive Shaft at a benefit concert hosted by Eloise Widmore for the Golden State Museum of Natural History. Daniel Widmore, Eloise’s son, accompanied the band on piano. Liam looked concerned about Charlie’s behavior as the performance began, and he with the rest of the band were left to continue the show when Charlie left the stage after seeing Claire. (“The End”)
Related Character Images
Decoded Family Members
Decoded Season 1 Characters
Decoded Season 2 & 4 Characters
Key Episode(s) to Decoding the Character
(Nefertum) Nefertum’s name is most likely to be interpreted as “that which is beautifully completed,” that is, perfected or actualized (the -tum ending is the same as the name of Atum). The consistent element in his iconography is the blue lotus, Nymphaea caerulea, which was highly popular in Egypt for decoration, for its fragrance, and as offerings to the Gods. It has also recently been alleged that the blue lotus may have been used as a narcotic, though this has now been disputed (Counsell 2008). Whatever may be the truth of this claim, the smelling of the lotus flower is used in Egyptian iconography to symbolize the enjoyment of sensual pleasure in its most exalted form. In PT utterance 249 Nefertum is “the lotus-bloom which is at the nose of Re,” who “will issue from the horizon daily and the Gods will be cleansed at the sight of him.” In this utterance the deceased king identifies himself with Nefertum: “I am this zeshzesh-flower [lotus] which sprang up from the earth [BD spell 174: “I am this lotus that shines in the earth”] … and I am at the nose of the Great Power.” The lotus, as a flower that grows in water, symbolizes the emergence of the cosmos from the watery abyss and the beauty of the forms borne upon its ever-shifting surface. Regarding these forms, the Egyptians do not emphasize their aspect of impermanence, but rather their aspect of being always new, and therefore signify them through deities depicted in the form of children. PT utterance 307 speaks of the formative era “when Re was ruler of the Two Enneads and the ruler of the plebs was Nefertum.” Here Re’s sovereignty over the Gods (signified in the unknown number of their totality by the idealization ‘Two Enneads’) is paralleled in the realm of mortals by the sovereignty of Nefertum during the childhood of humanity. However, it may be the implication of impermanence, of fleetingness, that makes of Nefertum at times an object of apprehension. Thus in CT spell 335, Re is asked to save the operator from “that God whose shape is hidden … who puts bonds on the evildoers at his slaughterhouse, who kills souls,” which is explained in one of the ancient commentaries as referring to “Nefertum, son of Sekhmet the Great [or ‘son of Bast‘ in one of the glosses from the version in BD spell 17], he who uses his arm,” i.e. to smite. Nefertum can be depicted as a man wearing a lotus headdress or as a child seated on a lotus, or as a lion-headed man or a lion devouring an enemy. In these leonine forms Nefertum has often a hawk on his head which itself wears the lotus headdress. Nefertum may also be mummiform, or carrying a curved sword or khepesh, or standing on a recumbent lion. He is most often considered the son of Sekhmet and Ptah, but also frequently of Bast, a connection which is probably responsible for his occasional depiction accompanied by a cat.
CT spell 295, for “becoming a scribe of the altars of Hathor,” names this scribe as Ihmos, “son of Nefertum.” The association with Nefertum makes sense for one who is, as it were, tallying the things consecrated to the Goddess of beauty and pleasure. CT spell 571, “To build a mansion among the waters,” states that “As for these mansions among the waters of sky and earth, if my wish to come to them be not granted, sky and earth will be trodden down,” and “the hebennet which is in front of the house of Nefertum will be trodden down,” the hebennet being a type of offering-cake (mentioned as well in CT spell 39 and PT utterance 158). The point in such a statement is not to pose a threat, but to establish an equivalency. The permanent position which the operator seeks amidst the waters is itself the offering which is rendered to Nefertum; its impossibility would render impossible, in turn, the recognition of Nefertum’s divinity, if we understand him to embody the idealized beauty and perfection of things in themselves impermanent. Assuming the form of the lotus, which is smelled and enjoyed by the Gods themselves, is to constitute this offering. Hence BD spell 81, for “assuming the form of a lotus,” has the operator affirm that “I am this pure lotus that has ascended by the sunlight and is at Re’s nose. I spend my time shedding the sunlight on Horus. I am the pure lotus that ascended from the field.” Here the lotus of Nefertum is an intermediary between Re, the principle of cosmic order, and Horus, the principle of social order, vindicator of his father, that is, of the mortal as such. To identify with the lotus in this context is thus to identify with what is most noble and holy in mortal being, and which gratifies the Gods themselves.
Other Names: Nefertum
Patron of: the rising of the sun.
Appearance: a man with a crown of lotus blossoms
Description: Nefertem was the god of the sunrise who helped to bring the sun into the sky where Ra was. According to myth, he had no father and no mother, instead being born from a lotus blossom.
Worship: Nefertem had no formal cult or temple. His primary devotion seems to have been in the form of small statues of him carried by people, similar to modern saints medals.
Normally, we think of Nefertem as a god of perfumes but in reality, that was a secondary association. Primarily, Nefertem was the youthful god of the lotus blossom which rose from the primeval waters according to Egyptian myth. Hence, he was not only associated with the blue lotus (Nymphaea cerulea), but with the sun god who emerged from it as well. Therefore, he is frequently associated with Re as a solar deity.
His name, Nfr-tm, means ‘Amun is good’ or “he who has newly appeared is perfect’.
In the Pyramid Texts he is called ‘the Lotus blossom which is before the nose of Re’ and therefore his association with perfume was both early and natural. He eventually unites with Re to form a single deity.In spell 249 of the Pyramid Texts, he is also described as “the king as a flower in the and of the sun god”.
In later periods, Nefertem was also very closely related to Horus, the son of Re, and the two deities were even sometimes merged. At Memphis during the New Kingdom, Nefertem came to be associated with the God, Ptah, and his consort, Sekhmet, in a very important triad in which he was commonly viewed as their child In this aspect, Nefertum could take on a warlike role and be associated with other warlike gods such as Montu, Sopdu and Hormenty, as well as with other
Nefertem is most frequently represented anthropomorphically as a male god wearing a lotus blossom on his head. This headdress is sometimes augmented by two upright plumes and twin necklace which hang at its sides. Nefertem may also be depicted as a lion headed god when he is the son of the leonine goddess Sekhmet. Even in this guise, he might still infrequently wear his distinctive lotus headdress. He could also be shown standing on the back of a lion, but this may have been more closely connected with his solar association with Re. The child god usually wears a short kilt and may hold a khepesh sickle sword, which may be connected to his epithets, khener tawy, or ‘protector of the Two Lands’.
Due to his connection with the primeval creation myths, Nefertem may also be depicted as a child seated on a lotus blossom, and a variation of this motif is found in examples which depict only the head of the god emerging from the lotus. We have, from the tomb of Tutankhamun, a famous painted wooden example of this form of the god. In these images, the connection between Nefertem and the infant sun god is particularly striking, and such representations could be seen as depicting the king as one or the other, or even both of these deities.
Nefertem was primarily a deity of royal and divine monuments and was therefore not popularly worshipped. In fact, as the son of the ferocious goddess, Sekhmet, he was frequently feared. Hence, by the Third Intermediate Period, amulets with divine decrees made when a child was born often promised to protect the child from manifestations of Nefertem, along with other potentially harmful deities. Yet, and very interestingly, we also find a few protective amulets depicting the god that were made during the same period.
In Egyptian mythology, Nefertem (perhaps to be translated: ‘the beautiful one who closes’ or ‘the one who does not close’; also read as Nefertum, Nefer-Tem, Nefer-Temu) was originally a lotus flower at the creation of the world, who had arisen from the primal waters. Nefertem represented both the first sunlight (also often associated with the shapes of a lion or a falcon god; sunlight was also supposed to shine forth from the double high feathers from the deity’s head, a usual aspect of his iconography) and the delightful smell of the Egyptian blue lotusflower having arisen from the primal waters within an Egyptian blue water-lily, Nymphaea caerulea. (This flower is widely used in Egyptian art, religion and literature. In much of the literature about ancient Egypt, it is called the “(blue) lotus”. However, the true lotus, Nelumbo nucifera, is not found in Egypt until the time of the Persian invasion, when it was introduced as a food crop. Some of the titles of Nefertem were “He Who is Beautiful” and “Water-Lily of the Sun”, and a version of the Book of the Dead says,
“Rise like Nefertem from the blue water lily, to the nostrils of Ra (the creator and sungod), and come forth upon the horizon each day.”
As the power of Memphis grew, their chief god, Ptah, was said to be the original creator, and thus of all the other gods, including any lesser creators, who create the remaining gods having first being created by Ptah. Consequently Nefertum came to be merely the son of Ptah, rather than a creator of light proper. As son of Ptah, it was said that either the lioness-deities Sekhmet, or Bast (whichever was considered wife of Ptah), was his ‘mother’. As a god now only associated with the highly aromatic blue water-lily rather than creation, he became a god of perfume and luck. In art, Nefertum is usually depicted as a beautiful young man having blue water-lily flowers around his head. As the son of Bast, he also sometimes has the head of a lion or is a lion or cat reclining. Nefertem was associated both with the scent of the blue water-lily flower and its supposed narcotic effect (widely presumed, but yet untested scientifically). The ancient Egyptians often carried small statuettes of him as good-luck charms.