Friday, April 30, 2010
by Cindy White
April 29, 2010 - The William S. Paley Television Festival, also known as PaleyFest, has become something of an annual tradition for Los Angeles residents. Every year, the Paley Center (formerly the Museum of Television and Radio) hosts a series of panels over two weeks featuring some of the most popular television shows of the past and present. It's a rare chance for TV viewers to interact with the cast and creators of the shows they love. And this year, Lost was one of those shows.
The sold-out live event featured cast members Terry O'Quinn, Michael Emerson, Nestor Carbonell and Zuleikha Robinson, along with executive producers Damon Lindelof, Carlton Cuse, Jack Bender, Adam Horowitz, Eddy Kitsis and Liz Sarnoff. The evening of hilarity was hosted by Human Giant's Paul Scheer. But if you missed the fun, don't fret Lost fan! You can always check out our coverage on IGN TV, but now you can also see it for yourself on DVD.
The DVD is available online for $19.95 either at Amazon.com or at the Paley Center's official site, www.paleycenter.org. It includes an introduction by Cuse and Lindelof; uncensored anecdotes by O'Quinn, Emerson, Carbonell and Robinson, plus fan questions to the participating panelists.
This isn't the first time Lost has been included in the Paley Festival, however. That was back in 2005, while the show was in the midst of its groundbreaking first season. That year, the panelists included Matthew Fox, Josh Holloway, Jorge Garcia, Daniel Dae Kim, Yunjim Kim, Dominic Monaghan, executive-producer J.J. Abrams and others. The PaleyFest2005 panel is also available for the same price at www.paleycenter.org.
April 28th, 2010
ABC series ‘Lost’ spent millions in Hawaii
HONOLULU — The ABC series “Lost” spent $228 million filming in Hawaii in 2006-09, while employing an average of 973 people in each of the four years.
The state figures reported Wednesday by The Honolulu Advertiser were obtained by the newspaper in response to a Freedom of Information Act request filed Dec. 24.
The value of tax credits claimed by the producers of the TV show hasn’t been released, but the newspaper estimated it likely exceeds $32 million.
Those who favor the credits say they are critical in attracting and keeping a TV series. Opponents argue the credits benefit one industry at the expense of others.
The final episode of the castaway drama that first aired Sept. 22, 2004, is scheduled for May 23.
Information from: The Honolulu Advertiser, www.honoluluadvertiser.com
posted: Wed Apr 28, 2010 at 10:38 AM
Feeding 90 members of the cast and crew of Lost on a North Shore Oahu beach will be Chef Robert Irvine’s next Hawaii-based challenge for his popular Food Network series Dinner: Impossible. The episode premieres May 19.
If you’re a devotee of the brawny English celebrity chef’s show, you know its modus operandi. Offered no knowledge of a mission beforehand, Irvine is tasked "Mission: Impossible-style" with planning, procuring ingredients, whipping up and serving a full multicourse menu for an event in a matter of hours.
In Dinner: Impossible’s “Robert’s Lost Mission” episode, Irvine is dropped off on the ABC mystery-adventure series’ deserted Papailoa Beach set with scant cooking equipment and some ingredients left for him on the beach. Food Network is, so far, staying mum about the ingredients. But judging by the photo below of Irvine with Lost cast member Nestor Carbonell, the chef's at least got a table stocked with fresh pork, chicken, shrimp, a variety of fish, pineapple, corn, sweet potato, banana and ... uh, are those sugar packets in the bamboo steamer? That largish roll of ti leaves likely means lau lau will on the menu.
With assistance from Jon Matsubara, executive chef of the Royal Hawaiian Hotel’s Waikiki beachfront Azure Restaurant, and a handful of Lost cast members (like Jorge Garcia, pictured above) dropping by with important mission information, Irvine was set loose on his task. After one very important stop at an Ace Hardware store in nearby Haleiwa town for cooking supplies, chaos and creation in Irvine's makeshift beachside kitchen ensued.
Truth be told, we're a bit surprised that Food Network waited until Lost’s final season to cook up what seems like a match-made-in-epicurean-heaven scenario for Dinner: Impossible—stranded chef cooks for cast and crew of series about stranded strangers on an island. Plus, Irvine is no stranger to Hawaii challenges.
In a 2008 Dinner: Impossible episode titled “Late for the Luau,” Irvine was tasked with creating a full beachside luau for more than 150 Big Island residents and visitors in just eight hours. He finished, of course—that time, with some lau lau- and lomi salmon-making guidance from Hawaii chef Sam Choy and by putting his ample guns to good use prepping a pig for an imu.
Having sampled Matsubara's inventive skills in the kitchen a few times at Azure, we know Irvine will be in very talented, very capable hands here.
We'll definitely be watching.
Here’s the premiere week episode schedule for Dinner: Impossible “Robert’s Lost Mission”:
• May 19, 10 p.m. (Eastern time, Pacific time), 7 p.m., 10 p.m. (Hawaii time)
• May 20, 1 a.m. (Eastern time, Pacific time)
• May 22, 4 p.m. (Eastern time, Pacific time), 1 p.m. (Hawaii time)
7:00 -9:30 PM
Tateuchi Democracy Forum
National Center for the Preservation of Democracy
(across the courtyard from the Japanese American National Museum)
111 N. Central Avenue
Los Angeles, CA 90012
Please join Giant Robot, the Coalition of Asian Pacifics in Entertainment & the Japanese American National Museum to the inaugural Legacy Series with special guest Daniel Dae Kim.
CAPE is pleased to announce the 2010 Edition of The Legacy Series
Evenings of candid conversations with the most successful and influential leaders in the entertainment industry, the seminars are an opportunity to gain first-hand insights and perspectives in a master class setting reminiscent of Bravo’s “Inside the Actors Studio.”
DANIEL DAE KIM
Through the diversity of his roles on stage and screen, Daniel Dae Kim continues to expand our perceptions of the Asian American man. In characters ranging from the King of Siam, a Shakespearean hero, a social worker for the Chicago needy, to a counter terrorist agent, his work has consistently proven to transcend the historical barriers of race and stereotype.
Daniel’s most recent work on ABC’s “Lost,” is no exception. As Jin Soo Kwon, a Korean businessman and reluctant enforcer for his father-in-law, his character transformed from an overprotective “traditional” husband to a man who re-learns how to live and love. His portrayal of this multi-faceted character signaled a breakthrough for primetime network television, and has helped make Lost a worldwide hit since its debut in 2004.
Since then, both Daniel and the show have been widely recognized for their excellence. Sharing a 2006 Screen Actors Guild Award for Best Ensemble, the Korean American actor’s universal appeal was also recognized by “People” Magazine, which named him one of the ‘Sexiest Men Alive’ in 2005, as well as “TV Guide,” which recognized him as one of ‘TV’s Sexiest Men’ in 2006. In that same year, Daniel was individually honored with an AZN Asian Excellence Award, a Multicultural Prism Award and a Vanguard Award from the Korean American Coalition, all for Outstanding Performance by an Actor. In 2009, his recognition continues with the prestigious KoreAm Journal Achievement Award in the field of Arts and Entertainment.
Free for CAPE members / $10 public
Parking: Street parking or parking in lots in Little Tokyo. $6-7
** An RSVP is essential, since space is extremely limited. **
7:00-7:30 pm Networking with Cocktails and hors d’oeuvres
7:30-9:00 pm Daniel Dae Kim with Eric Nakamura
9:00-9:30 pm Reception
Wednesday, April 28, 2010
What did you think of "The Last Recruit"
As AWESOME as Jin and Sun's reunion 8 (44%)
As GREAT as all of the Alt characters coming together 4 (22%)
OK 5 (27%)
As BAD as being blown up by Widmore's missile. 1 (5%)
As HORRIBLE as having Widmore tell you "you're with me now" 0 (0%)
Votes so far: 18
What were your favorate moments in "The Last Recruit"?
Jack and Locke's Meeting 9 (42%)
MIB/Locke revealing that he had posed as Christian in early season 1 8 (38%)
Alt. Sun recognizing John Locke 3 (14%)
Jack & Claire's sibling bonding moment 5 (23%)
Sawyer busting Sayid 4 (19%)
Hurley's Anakin comment 7 (33%)
Zoe's missile confrontation with MIB/Locke 1 (4%)
Alt. Des visiting with pregnant Claire 5 (23%)
Illana the lawyer 5 (23%)
Jame's moment with Kate 2 (9%)
Alt. Jack finding out about Claire being his sister 0 (0%)
Kate convincing Claire to go with them 4 (19%)
Jack telling Sawyer that he was sorry for getting Juliet killed 5 (23%)
Sayid & Desmonds moment at the well 7 (33%)
Jack choosing to leave the boat 10 (47%)
Sawyer's Burt Renolds and hairy chest comments 10 (47%)
Widmore shooting a missle at the beach 1 (4%)
Alt. Jin confirming that Ji Yeon is still alive 4 (19%)
Jin & Sun's reunion 9 (42%)
Votes so far: 21
Did Sayid kill Desmond?
Yes 1 (6%)
No 15 (93%)
Votes so far: 16
Is Jack really on MIB/Locke's side?
Yes 2 (13%)
No 13 (86%)
Votes so far: 15
Tuesday, April 27, 2010
There’s an episode of Lost on ABC tonight, but I won’t be watching it. Why? Because I hate Lost. I just decided this. It’s stupid and silly and irritatingly pretentious with its pseudo intellectualism and shallow spirituality and allegedly cutting-edge extrapolation of theoretical physics that those nerdy crackheads at Wired love to slobber on about, and if one more mouth-breathing geeks asks me “What would you see in your flash-forward?”, I’m going to punch them… wait… oh. Oh! Sorry about that! I got my TV shows messed up there for a second. Lost! I love Lost! I’m obsessed with Lost! I write crazy theories about Lost! I write epic and incoherent recaps about Lost! But not tonight. The show is taking a breather this week in advance of its final four episodes in May, so tonight, we get a repeat of “Ab Aeterno,” the instant-classic that gave us the backstory of Richard Alpert and Jacob’s metaphor of The Island as a cork on a bottle keeping a toxic brew of evil from sloshing out into the world. If you haven’t seen the episode, then by jove, make sure you make time to watch it tonight, because it’s massively important, and there is absolutely no other way to see it anytime sooner or at any other point in the future. Then come back and read my recap. And as you do, treasure the experience. It will be the only time this season when you’ll actually find one of my recaps posted exactly on time and when you want it. (PS: That aforementioned Wired link will actually take you to the magazine’s insightful and geektastically fun tribute to Lost. Check it out when you’re done scanning these ramblings.)
Meanwhile, the rest of us will be counting the days until next week’s all new episode of Lost. I know the title. Maybe you do, too. If you don’t know and don’t want to know, then stop reading right here because the rest of this “Countdown To Next Week’s Lost” is all about the implications of the title. Okay? Okay. The title is called “Jack Loves Monkeys.” I suspect the episode will be 1. One of those “funny episodes” that Adam and Eddy write; 2. An untold tale of Jack’s season 3 Hydra Station incarceration chronicling his ill-fated bid to free Joop from his subterranean cage; or 3. The most controversial episode of Lost ever produced.
Just kidding. The episode is actually called “The Candidate.” Your theory bells should be ringing. When we speak of “candidates” on Lost, we think of the potential replacements for dead Island deity/protector/redemption hobbyist/reclusive wino Jacob. At present, we have been led to believe that one of the following could get the job: Hurley; Sayid; Sawyer; Jack; Jin and/or Sun. Will next week’s episode officially name Jacob’s successor? If so, which one will get the job? Doc Jensen gives you the odds:
You got the sense from “Lighthouse” that Jacob really, really needs Jack to get over his bad self and dial into his Island destiny. The safe money is that said destiny is to spend eternity eating fish, spying on damned souls with magic mirrors, and plotting intricate redemption narratives for Island visitors.
It’s a fake-out! Jacob’s master plan all along has been to groom Ben as The Island’s new supreme being—but first, he’s had to break Ben of his pride and purge him of his sin, not to mention protect him from the Man In Black’s assassination plot. Bringing the castaways to The Island accomplishes both tasks. The most flattering theory of bad guy Ben is that knowingly or unknowingly he’s been producing challenges of character designed to prepare the castaways for their final conflict with Smokey. Actually, the total opposite is true. Jacob brought the castaways to The Island to test Ben’s character, intended to shape him into the kind of man worthy of Jacob’s loom-of-fate stool. Also, by deceiving Smokey into thinking Jack et. al. were his candidates, Jacob has been shielding Ben from Smokey — and co-opting Smokey into his plan to refine Ben’s soul.
Next to Ben, he’s the best yarn-spinner on The Island. He’s a precise judge of character. He’s also extremely well-read; judging from his library, he has a great grasp on universal themes like redemption and damnation, faith and reason. He also has great motivation to stay on The Island, as he killed a guy in Australia and should surely go to jail if he ever got back the civilization. Then again, maybe that sin makes him unqualified for Island divinity.
It’s about time The Island was ruled by a woman, don’t you think? She’s got a great name for a god. Also, Sun’s got the will and stamina for long-term redemption projects, as demonstrated by her unflagging search for Jin, who per my guestimations will be allowed to remain on The Island as her consort. They’ll get to bring Ji-Yeon over to The Island, too. I also think they can make the most of Island life. He fishes! She gardens! They know how to keep warm during cold evenings on the beach! Happily ever after on The Island will be like one long honeymoon for them.
Maybe the guy least interested in the job — which makes him the most dramatically interesting candidate for the job and therefore makes him an irresistible choice. Even though my Sun theory allows for Jin to stay, I suspect that the Jacob job is probably a solo act, and I think being alone would crush Hurley’s soul. The again, he’s got plenty of dead people for company. And really, who wouldn’t want to spend the rest of time hanging out with Ghost Michael?
What are your thoughts on the candidate issue? Conduct your political debates in the message boards below. I’ll be back on Friday with a new Doc Jensen column. Next week: the return of Totally Lost — and the beginning of the end of Lost itself. You can e-mail me your questions and theories at email@example.com, and follow me on Twitter @ewdocjensen.
Monday, April 26, 2010
On May 23, fans of “LOST” say goodbye to ABC’s groundbreaking series. Following the finale, the stars and producers join Jimmy Kimmel for “JIMMY KIMMEL LIVE: ALOHA TO LOST” SUNDAY, MAY 23.
After the final episode, longtime “LOST” fan Jimmy Kimmel hosts an hour-long analysis of and farewell to one of television’s most beloved series with appearances from executive producers Damon Lindelof and Carlton Cuse, alternate endings, and live interviews with cast members.
Matthew Fox (Jack)
Daniel Dae Kim (Jin)
Michael Emerson (Ben Linus)
Terry O’Quinn (John Locke)
Naveen Andrews (Sayid)
Emilie de Ravin (Claire)
Alan Dale (Charles Widmore)
Harold Perrineau (Michael)
Nestor Carbonell (Richard Alpert)
Jeremy Davies (Faraday)
April 26, 2010 6:25 am
What did you do over the weekend? Maybe you hung out and caught up on some chores. Maybe you watched some TV or took in a movie. Well, you obviously aren't Twitter user @wopsican, because then you'd have gone to the "Lost" wrap party.
How did he get in? I don't know. He leads "Lost" tours in Hawaii, so that might be the connection. But regardless of how it happened, he's got all kinds of photos with the cast and crew from the event. Here's his Twitpic feed, which features the photos he took at the last official "Lost" event ever. Because, yeah, "Lost" wrapped filming. There may be some additional dialogue recorded at some point or something like that, but the series is done filming. And now we get to wait and see how it all plays out.
But that wasn't the only "Lost" stuff up on the Internet this week. Just being selfish for a moment, check out my latest appearance on "Orientation: Ryan Station," where I think Maureen Ryan, Ryan McGee and I had a fascinating conversation about the season so far and where we think it's all heading. Now, I make a lot of crazy predictions in this podcast, and I'm sure many of them will not come true, but that's half the fun, isn't it? And it's even better to share them with two critics and fans who have obviously thought as much about this show as I have. (I figured out the other day that I'll have written nearly 400 pages worth of "Lost" material for Show Tracker when the season is over, and Maureen and Ryan both write about the same amount as I do. That's three novels!) Listen to the podcast, and queue up the episode as you listen so you can get an idea of just what it is that's prompting our thoughts.
Meanwhile, if you're a giant "Lost" geek, you'll probably make this image (from sl-lost.com) your wallpaper as soon as you see it. I'm not going to say that that's what I did, but ... OK, yeah. I did it. It's a little ... OK, a LOT ... nerdy, but it's a great image, and I love the way the image blends all six seasons of "Lost" and the motif of the famous "Star Wars" posters. It's a really cool image, and however much work it took for P-L Boucher to make it, it was worth it.
I've also been combing the Net for some good "Lost" theories, and I found one at the forums for Oscar tracking site Awards Daily. It's by poster "guany," and I like it, even if I don't think it's going to pan out like this, because it seems a little needlessly cruel. I like all of the clues he's picked up on in the individual frames:
"David Shepherd is the Man in Black. There is just something about him. Especially in The Last Recruit. Concerning his dead grandfather, he tells Jack I feel sad for you in a manner that is very similer to how the Man in Black would try to, and has, manipulated others. Also, Jack, Desmond, and Claire all signed in at the front desk of that lobby, with the sign that said All visitors must sign in. David did not. He created the flash-sideways, and is thus not a visitor. He is also the only seemingly important flash-sideways character who is not in the original timeline. This fake relationship is what Jack would/will have to sacrifice. Or am I reading too much into this?"
Tumblr user "lindseycathryn" assembles this collection of screen grabs from "Ab Aeterno" that plays up that episode's visual similarities to the show's pilot (which, if you haven't heard, will be airing again on May 22, the night before the series finale). It's been obvious for quite some time that the show is deliberately playing up similarities to season one, but seeing it illustrated so dramatically like this is terrific.
Finally, when life gives you "Lost," sometimes, you just need to make "Lost" robots. The guys over at The Daily Robot have been turning out a new robot version of one of the "Lost" cast members every week this season, and all of them are great. My favorite is probably this Sayid-bot, but I'm sure all of you will find others that you like just as much. It's a funny way to take the show and work it into the site's mission statement.
And with that, I'm gone for a week, unless ABC unexpectedly announces there will be a seventh season all about Desmond as a Timecop with Vincent as his resourceful canine pal or something over the next week. Hang tight, and I'll see you all on May 4 for "The Candidate."
--Todd VanDerWerff (follow me on Twitter at @tvoti)http://latimesblogs.latimes.com/showtracker/2010/04/the-lost-weekend-its-over-its-really-over.html
Posted by Corinne Heller at 11:37:42 AM
A LOST finale celebration event at the University of California in Los Angeles that promises to show a sneak peek of the next to last episode of the iconic mystery series ten days before the final show airs, appeared to be sold out minutes after they went on sale on Friday.
The screening is part of an event called "LOST LIVE: The Final Celebration", which promises appearances by cast members such as Michael Emerson (Ben Linus), Jorge Garcia (Hurley) and Nestor Carbonell (Richard Alpert).
The event is to take place set to take place on May 13 at UCLA's Royce Hall, which seats 1,800.
A UCLA representative from said all tickets offered directly through the school's box office were sold about 20 minutes after they went on sale Friday morning. Ticketmaster's website, which also offered tickets, showed none were available at that time. Some ads offering and requesting tickets were later posted on Craigslist.
Oscar-winning composer Michael Giacchino will also conduct a live orchestral performance of the music from the series, currently on its sixth and last season.
"A special preview of the penultimate episode will be screened immediately after the concert," ABC said in a statement. UCLA says no cell phones, cameras or recording devices will be allowed.
Hand-held camera recordings of the first episode of LOST's current season were leaked on YouTube after it was screened at a special fan event in Hawaii earlier this year.
The finale of LOST is set to air on Sunday, May 23 on ABC from 9 to 11 p.m ET, following a two-hour recap special. There is no new episode next week but you can see potential spoiler photos of the May 4 show, called "The Candidate".
By Catriona Wightman, Entertainment Reporter
The executive producers of Lost have promised viewers that the series finale will provide some resolution.
Damon Lindelof and Carlton Cuse told Wired that the show will attempt to explain how the two storylines fit together.
"The audience is saying, 'I hope they explain the relationship between these two stories' and that, to us, is the only answer we owe," Lindelof said. "Because at this point, the characters are not aware that there's any timeline other than the one they are in. But if they were to become aware of the parallel worlds, what might they do about it? That becomes a fundamental question."
The pair also suggested that the programme will choose between science, represented by Jack (Matthew Fox), and faith, represented by Locke (Terry O'Quinn).
"The show can't have its cake and eat it too," Lindelof explained. "At the end of the day, if Locke and Jack were to sit down and say, 'Well, we were kind of both right', that would not be satisfying. It has to come down one way or another."
However, Cuse said: "There's still going to be plenty of room for debate when the show is over. We are going to take a stab at providing a conclusion, and one that we hope will be satisfying on a character level.
"The bigger questions, we realise, are not answerable. We feel that demystifying some of the things we do on Lost is like the magician showing you how the trick is done, and we don't want to do that."
He continued: "We don't know whether the resolution between the two timelines is going to make people say, 'Oh, that's cool' or, 'Oh, f**k those guys, they belly-flopped at the end'."
Meanwhile, Lindelof added: "This is our best version of the story of Lost, and it's the definitive one. The worst thing we could ever do is not end it, or go with some bulls**tty ending like a snowglobe or a cut to black. That was genius on The Sopranos but The Sopranos isn't a mystery show. For us, we owe our best version of a resolution here."
The finale of Lost will air on ABC on May 23.
It remains one of -- if not the -- best TV drama pilots ever, and in celebration of the May 23 'Lost' series finale, ABC has decided to replay the show's incredible, $10 million, two-hour series premiere on May 22.
As reported by The Wrap, the pilot repeat adds to an already 'Lost'-packed week at ABC between May 17-23. The penultimate episode of the show premieres on May 18, the pilot re-airs on May 22, and on May 23, the finale night kicks off with a two-hour recap of the entire series, followed by the two-hour finale and then a special 'Jimmy Kimmel Live: Aloha to 'Lost'' show that will feature 'Lost' cast members and showrunners Damon Lindelof and Carlton Cuse.
The pilot episode, directed by series creator J.J. Abrams, debuted on ABC on Sept. 22 and 29, 2004, and hasn't been aired on the network since 2006.
The most expensive pilot in TV history, the two-hour introduction to the show that would have 'Lost'-ies obsessed with the secrets of the island, the Oceanic 815 flight, the plane crash victims and Hurley's (Jorge Garcia) numbers -- 4, 8, 15, 16, 23 and 42 -- for the rest of the decade, cost so much because Abrams purchased, shipped and had set designers manipulate an actual decommissioned airplane to use in the pilot.
A reminder of the pilot's awesomeness: It opens with Jack (Matthew Fox), battered and bruised from the crash, waking up in the jungle and catching a glimpse of Vincent, the yellow Lab pooch of Walt (Malcolm David Kelley). In quick order, we'd then meet the rest of the cast, including Hurley, Claire (Emilie de Ravin), Rose (L. Scott Caldwell), Kate (Evangeline Lilly), Michael (Harold Perrineau), Sawyer (Josh Holloway), Sayid (Naveen Andrews), Shannon (Maggie Grace), Boone (Ian Somerhalder), Charlie (Dominic Monaghan), Jin (Daniel Dae Kim), Sun (Yunjin Kim), Locke (Terry O'Quinn), Smoky the Monster and, RIP, the pilot (guest star Greg Grunberg).
Friday, April 23, 2010
Thursday, April 22, 2010
Those words from Daniel Dae Kim surely echo the thoughts of millions of Lost fans who were treated to a stirring reunion between on-island Jin and Sun Tuesday night after two full seasons apart.
“Everyone knew that it had to come sometime, somewhere,” Dae Kim tells PEOPLE. “It was a lot of fun to finally get to shoot that scene.”
Maybe for him; not so much if you’re Yunjin Kim, who plays Sun. “I was soaking wet the whole time!” says the actress of the reconnect, which took place on Hydra Island beach. There was also the little matter of shooting such an intimate, teary exchange — in which Jin tellingly promised to never again be apart from his love — in front of half the cast. “That,” she says with a laugh, “was a little challenging. It’s like, ‘Hey everybody, watch us make out!’”
This being Lost, though, there are only more challenges in store. With the couple, and the rest of their group, held at gunpoint by Charles Widmore’s henchmen in the episode’s closing minutes, “we all go back to the cage,” Kim teases of the next new episode. “The infamous cage that Kate and Sawyer had their love scene in” during season three. With Skate (Josh Holloway and Evangeline Lilly) included in the group of hostages, guess that means the fan-favorite couple is headed back there, too! Might it stir up the old magic between them?
Last night’s emotionally-rich episode was chock full of rewarding goodies for fans. Among them: The revelatory scene in the jungle between Jack (Matthew Fox) and Locke Monster (Terry O’Quinn) in which the latter confessed that it was indeed he who took the form of Jack’s father way back in season 1, and the cementing of Jack’s evolution from a man of science to a man of faith.
And then there were all those Sideways crosses: With the Island and Sideways worlds increasingly connected, a myriad of characters were woven into each other’s lives. A pregnant Sun and injured Locke, who was brutally run down by Desmond (Henry Ian Cusick) at the end of last week’s episode, were wheeled into the hospital side-by-side (a development that seemed to majorly freak Sun out). Desmond steered Claire (Emilie de Ravin) towards Ilana’s law offices, where the pregnant Aussie eventually met half-brother Jack for the first time when he arrived for the reading of their father’s will. And then Jack was called away to operate on Locke! Det. Sawyer flirted with fugitive Kate, who’s still professing her innocence, then arrested Sayid (Naveen Andrews) outside Nadia’s home for the restaurant shootout where Sun was wounded.
Clearly, things are building towards one majorly jaw-dropping finale. “When I read it, it took me a couple minutes just to digest it all,” Kim says of the last script. “It’s huge, it’s emotional, and it’s going to be good.”
Among the still-burning questions that will finally be answered, according to the actress: Which candidate will take Jacob’s place in running the island. “I guessed right!” Kim says. “I also guessed who the mother of Jack’s son is.” Too bad she’s not willing to share those guesses with the rest of us.
Each season, producers have omitted at least one major-twist scene from the actors’ scripts and referred to it internally by a cheeky code name (a la “The Bagel” or “The Frozen Donkey Wheel”) for fear of any details leaking out ahead of time. This time around, the entire last act is M.I.A., which, according to executive producer Damon Lindelof, is simply called “The Last Act.”
“We didn’t do a code name this year,” he says, “because it sorta misleadingly infers there’s gonna be a shock or twist. So we just called it ‘The Last Act.’ I know. Not original. But the honest truth.” –Shawna Malcom
Apr. 20--City Honors graduate Andy Kelemen is living a dream. He hopes to discover in about a month that his favorite TV show, ABC's "Lost," hasn't been doing the same for six seasons.
Kelemen was named one of five finalists in the national "Ultimate 'Lost' Fan Promo" contest on Monday. Fans were asked to film promos for the series as the finale nears; Kelemen's was one of 10,000 entries.
Called "The Lost Life," the 35- second promo has no dialogue. It features symbols that will be recognizable to fans of the series about plane crash survivors on a remote island.
The video clip on ABC's Web site was originally labeled Fernwald, which is the name of the street where Kelemen lives in Pittsburgh. He had to enter a user name on ABC's Web site when posting the promo. "Andy Kelemen was already taken," Kelemen explained.
Weird, in a "Lost" way.
Kelemen's promo opens with a camera shot of an airplane overhead, shows some food items from the Dharma project and an Egyptian symbol in a guitar case before ending with a woman looking down into her washer to see The Hatch.
"It's been your life for six seasons," a graphic notes. "The End is Near."
"My ideal commercial is one that is all imagery-driven and kind of has a nice payoff at the end," said Kelemen.
Voting began Monday and only lasts five days before the winner is announced. You can vote once a day. The winner gets to have his promo run nationally on ABC on the second-to-last episode of "Lost" before the series finale on May 23. The winner also is a guest at the series finale party with the cast in Hawaii and gets to put the triumph on his or her resume.
"The fact that you would be able to say that I had a commercial air nationally during probably one of the bigger shows of our lifetime is certainly something great," said Kelemen.
Kelemen, 24, a 2006 University of Pittsburgh graduate in film studies, started a new job in commercial production last week after working at two TV stations in Pittsburgh. He said the promo was one of five he shot in one day with actors that included a co-worker, his fiance, Sheena Narehood, and a guy from Amherst (Ben Ostroff) that he met in Pittsburgh.
Ostroff is the guy looking at Apollo food in a vending machine and Narehood is the woman at the washer. "I make her do laundry," cracked Kelemen, who was voted class clown at City Honors in 2003. "I'm going to seem like misogynistic."
He got the film studies bug in his senior year at City Honors, when he and his friends did a weekly public access show that he said had the ridiculous title of "The Random Acts of Stupidityness Show." In the show, Andy and his "co-stars" pulled pranks on friends in Buffalo.
Kelemen, whose initial dream was to design rollercoasters, became a "Lost" fan in his senior year in college because of an assignment for one of his last classes in television studies. The final assignment was to pick a serialized drama that he never watched.
"I think this is a great excuse to watch 'Lost,' " said Kelemen. "I watched the first season and became totally hooked. It was in its third season at the time, so I watched episode after episode. I've always been someone who is always into shows with an environment that have a lot of layers. The show has so many layers to it and so many angles that you can read into . . . This plays into the promos. I love shows with really minute aspects that play a pivotal role. I feel that sums up 'Lost.' "
His favorite season is the first one, when he discovered the characters and the situation they were in. He thinks this confusing season has been "pretty good."
"I think 'Lost' is one of those shows that, no matter what happens, you're going to have questions that are left unanswered, and people need to just accept that," said Kelemen.
"I like shows that are posing questions," said Kelemen. "This 'Lost' season is all about wrapping things up."
He has found the sideways world -- where Jack (Matthew Fox), Sawyer (Josh Holloway), Kate (Evangeline Lilly), Hugo (Jorge Reyes), Locke (Terry O'Quinn), Jin (Daniel Dae Kim), Sun (Yunjin Kim), Sayid (Naveen Andrews) and several others -- are involved in a world that addresses what might have been -- "pretty interesting."
"To me, the best thing about 'Lost' is its characters, so the fact we're seeing all of these great characters coming back is really gratifying," he said.
How does he want it to end? "I'll tell you how I don't want it to end," he said. "As long as it is not a dream, I'll be happy. I think that would be the biggest cop-out in any series."
"I almost kind of want it to end that these people accept the fact that what happened to them by crashing on the island is the best possible scenario for them and that they are not living their lives wishing that it hadn't happened."
Wednesday, April 21, 2010
By Jeff Jensen Apr 21, 2010
Reunions never last long on Lost. Packs of people come together after protracted periods of being apart, and then immediately fracture into new pods and cliques. The mantra is ''Live Together, Die Alone,'' and yet our heroes have always kinda sucked at the community thing. Will the castaway clan ever learn to live as one big happy family of man? Is our ''You All Everybody'' idealism but a crock? I despair! And so it went on last night's episode that Fake Locke and his flock of flunkies absorbed the ''Let's give peace a chance'' Fab Four of Jack, Sun, Lapidus and Hurley. For a few fleeting moments, the Island super-group was back together. Then Smokey sent Sayid one way (to go kill Desmond), and then Sawyer sent Jack that way (to help him execute the submarine escape plan), and then Jack sent everyone into a tizzy by deciding to go solo. Feeling the pull of Island destiny on his soul and trusting his gut to go with it, Jack literally jumped ship, i.e. Desmond's yacht, the Elizabeth, the one he got from Libby for free. Consequently, Doc Shephard missed out on the story's most emotional reunion. At last! Jin and Sun! Their crazy-cosmic marital separation is finally over! But before the tears could even squeeze out of our eyes, Zoe, the enemy of love (and compelling line readings), announced the commencement of Charlie Widmore's War. The castaways were forced to assume the prisoner (or execution?) position and rockets were fired in the direction of The Monster. The explosions got us a cool Mission Impossible 3-ish f/x shot of Jack getting flung limbs akimbo at the camera. He was left dazed and confused in the care of Fake Locke, whom I shall heretofore refer to as Man-Thing for reasons I may or may not explain to you. ''Don't worry. It's going to be okay,'' Man-Thing said. ''You're with me now.'' We'll see how long their partnership lasts.
''The Last Recruit'' didn't blow me away. Some of it really bugged me, actually, but it was a necessary staging episode for the final act of the season (and the series!), and I won't judge it too harshly. But can I just say that the Lapidus quip ''Looks like someone got their voice back'' was maybe the most cornball line ever uttered on Lost? (Like I said: not too harshly.) Still, there were plenty of meaty things in this busybusybusy outing to chew and savor. Jack's torchlight chat with Man-Thing was dense with significance. (Mystery Resolution Alert! Christian Shephard has always been a Smokey apparition!) (But did you believe M-T's claim?) Sayid's wellside conversation with Desmond also captured my imagination (do you think Mr. Designated Assassin executed his kill order?), as did Sideways Sun's freak-out over seeing Sideways John Locke. And then there was the set-up for the next episode: Sideways Jack's scramble to save Sideways John's life. That passing reference to Locke's obliterated dural sac was a nod to the classic moment in the pilot when Jack recounted his most harrowing moment as a young doctor. It led me to wonder if Lost is about to come full circle and give Jack an encounter with mind-clouding fear in both worlds. Count to five, folks: I think things are about to get scary.
''Sometimes you have to lose yourself 'fore you can find anything.'' — Deliverance
I can only imagine what Jack Shephard was thinking as he found himself face to face with Man-Thing. Here was a creature that defied his scientific orientation, a supernatural entity that looked exactly like his dead frenemy John Locke but was clearly not John Locke at all. Jack was rattled. Man-Thing knew it. As we saw last week in his interaction with Desmond, Man-Thing can practically smell fear. When he can't, he says so. He said nothing of the sort about Jack. When Man-Thing asked Jack to join him for a chat, the confidence-challenged doc asked his new leader/rabbi, Hurley, for some advice. ''It's all you, dude,'' Hurley said. I couldn't tell if Hurley was giving Jack his blessing or telling him ''Beats me, man. Your call.'' Either way, I think Hurley's brief tenure as castaway hero officially ended, and the weight of glory-or-infamy shifted back onto Jack's shoulders. And it should. The story of Lost has always been chiefly about the project of his redemption and the final choice that will be born out of that work. And so Jack manned up and walked into the dark. His final (death?) march to destiny had begun.
[Note: My recap hinges on a reading of Lost that I've had since ''Ab Aeterno.'' In the climactic scene of the episode, the Man In Black vowed to kill Jacob and any of his replacements. It's been my stated theory since then that MIB has been lying to the castaway candidates about getting them off The Island alive. Instead, what he's been conspiring to do is get them killed by either trying to escape — or by trying to stop him from escaping. Man-Thing can't kill the candidates himself, per the implied rules expressed by the Ghost Boy that's been haunting him, so he needs to manipulate Widmore into slaying the castaways, or trick the castaways into killing each other. All this said, Man-Thing's homicidal ambitions may not be ''evil.'' I have previously speculated that the castaways have lived long past their natural expiration date and need to pass into the afterlife, which may or may not be represented by the Sideways world. Thus, killing the castaways isn't wrong, but rather the means to end their unnatural state of being. Among the flaws in my line of thinking: it does seem to be increasingly likely that the Sideways world is some manufactured reality that represents the pay-out of Man-Thing's happily-ever-after promises to the castaways. The following recap leans more on the latter perspective, though it doesn't quite square with my characterization of Man-Thing as a tough love angel/afterlife traffic cop. Indeed, with each passing week, it does truly seem that Man-Thing is as Satanic as we fear him to be. And with that, we return to Jack and Man-Thing in the jungle...]
Man-Thing drove his flaming torch into the ground. He sat on a rock. He was in charge. He was in control. He was in power. But Jack kept his wits about him. And by wits, I mean his reason. Last season, Jack learned to open his mind to faith. This season, he has learned humility. In ''The Last Recruit,'' he recognized that there was still a place within his recreated self for a rational mind. Indeed, contrary to Sawyer's ''leap of faith'' crack, I think Jack's decision to jump off the Elizabeth was a conclusion reached by logic, and his plunge into the water was a kind of baptism christening Jack the fully integrated hero... but I'm getting ahead of myself.
,'' Jack said, ''what bothers me is that I don't have any idea what the hell you are.'' Jack was conceding the uselessness of old-fashioned empiricism when it came to crunching the paradox of Man-Thing. But there are other means of rational truth seeking. And so he started asking questions. Why John Locke? Did Locke have to be dead before Man-Thing took his form? What were some of Man-Thing's previous disguises? Man-Thing didn't answer the last one. Instead, he huffily asked Jack to ask him the question he really wanted to ask. Yes, Man-Thing wanted Jack to cut to the chase. But I also wondered if Man-Thing was trying to derail Jack's philosophical investigation, lest he find himself dealing with questions he didn't want to deal with, including the ones that I really wanted answered, like ''What's your name?' and ''Where do you come from?'' and ''Who's your mom?''
Jack asked the ''White Rabbit'' question, the one that resurfaced a few episodes ago in ''Lighthouse.'' When Jack saw Ghost Christian and chased him through the jungle, was that really his father or was that Man-Thing? ''Yes, that was me,'' Man-thing replied. Jack felt a surge of anger, but bit back on exploding. ''Why?'' he asked. Man-Thing got impish. ''Because you needed to find water,'' he said. There was an implied ''Duh!'' in there, as well as some implied irony. Back in season 1, Ghost Christian was a storytelling device that revealed Jack's character and solved a castaway survival issue (finding water) — but did it mean anything more than that? Did the writers really know that Ghost Christian was a manifestation of The Monster, or was that something they decided after the fact? I know many of you are debating the question today, and my answer is that I don't really care because either way, I am satisfied with resolution of the Ghost Christian mystery.
Of course, we could and should wonder if Man-Thing was lying. Until I'm told otherwise, I'm going to accept his Ghost Christian story as the truth. But Man-Thing's answer made me wonder: Should we be skeptical about the legitimacy of Hurley's ability to see and converse with the dead? Ghosts have visited Hurley since ''The Beginning of The End,'' the season 4 premiere, when Charlie's specter visited him at the mental hospital in the flash-forward time frame and began wooing him to go back to The Island. That was also the episode where Hurley got lost in the jungle and stumbled upon Jacob's haunted shack and peeked in the window and saw Ghost Christian in a rocking chair. Then an eyeball popped into the frame and glared right back at him and scared the hell out of Hurley. Or maybe it scared the hell into Hurley. Assuming that Jacob's haunted shack didn't belong to Jacob at all, but was instead a prison for The Man In Black, I wonder if the dark man literally got into Hurley's head in that eyeball moment and has been messing with him ever since.
Consider Ghost Jacob. In the season premiere, he instructed Hurley to take Sayid to The Temple for healing. How did that turn out? Sayid came back to life and helped Man-Thing lay waste to The Island's spiritual epicenter. In ''Lighthouse,'' Ghost Jacob instructed Hurley to take Jack to the lighthouse by evoking his father's memory. (''You have what it takes.'') How did that turn out? The experience left Jack convinced that Jacob was a perverted voyeur who had been spying on him since childhood and further convinced him that The Island was not a place where he'd find healing for his brokenness. Putting Jack in such a place helps Man-Thing's cause because it sets Jack up for one of his Faustian bargains. What do you want most in the world, Jack? Reconciliation with someone you love? Your father, perhaps? Because I can do that. We haven't heard Man-Thing verbally make that pitch yet, but judging from what we've seen in the Sideways world, it looks like Sideways Jack lives in a world where his father issues have been resolved via an increasingly healthy relationship with his son. Should we be worried if Island Jack will ultimately succumb to Man-Thing's will?
. It concerns the Ghost Kid that's been stalking him. If Man-Thing has been able to haunt the castaways with fake ghosts, then who or what are these spooky entities haunting him? Last Friday in my Doc Jensen column, I speculated that the Ghost Kid is the real Ghost Jacob. That remains my primary theory... but last night's episode left me wondering if there's a new smoke monster somewhere on The Island, a new entity capable of conjuring illusions of dead people. His first target: Man-Thing himself. Could this new Smokey be Jacob's own disembodied consciousness? This is definitely a hazy piece of thinking — a theory in progress.
Two more things:
When Jack told Man-Thing he didn't have any idea what he was, the Not Locke offered a cryptic reply: ''Sure you do.'' Now before I go down the rabbit hole on this one, let me state the common sense view that I think Man-Thing was merely alluding to how he had previously appeared to Jack as his father. But in the moment, I found myself wondering if Man-Thing was talking about something else, that he was hinting at the secret to his true identity and nature, and that if Jack recognized him as he truly was, he would realize that he's known him quite well for a very long time. And with that, my mind immediately flashback-swooshed to Jack's ''count to five'' story about fear management in the pilot. I don't know why. Maybe it's because the whole idea of Man-Thing as an embodiment of fear — which is a very old and well-traveled Lost theory — has been creeping back into some of my theoretical musings about Man-Thing of late, thanks to these repeated references to Smokey as ''that 'thing.''' (See: Ilana, Richard, Widmore.) Of course, The Thing is a title belonging to two great science fiction films, the 1951 Howard Hawks original and the 1982 John Carpenter remake, about an alien life form marooned on Earth. Both were allegories about xenophobia and demonization.
The Thing is also a Marvel Comics character, a member of the Fantastic Four, a pilot whose flesh and blood turned into rock after getting bombarded with ''cosmic rays,'' or what Lost would call ''unique electromagnetic energy.'' Monstrous and full of self-loathing, The Thing yearned to find a way to be released from the prison of his body. And then there's Man-Thing, another Marvel character, a cousin to the DC Comics hero Swamp Thing. (I have cited many times before a classic Swamp Thing tale in which the earth elemental finds a group of souls who don't realize they're dead flying the skies in a ghostly airplane and guides them into the afterlife.) Man-Thing was a tragic anti-hero. He was a scientist who was transformed via violence, fire, and experimental drugs into a sentient mound of muck. Don't show fear around Man-Thing for ''whatever knows fear burns at the Man-Thing's touch.'' Man-Thing protected something called ''the nexus of realities.'' Basically, his swamp was a portal into parallel worlds. BOTTOM LINE? Jack knows Man-Thing because Man-Thing is the embodiment of the emotion that has ruled much of his life. And when Lost likens Fake Locke to a ''thing,'' it is winking at the Fear Incarnate theory. I think. Or else Lost is alluding to the philosophical subtext of season 6 itself: Immanuel Kant's concept of ''Thing-in-itself,'' found in his work Critique of Pure Reason and derived from the older concept of noumenon, which distinguishes an entity's underlying reality from its external appearance that can be gleaned with our senses. Kant says we can only know things by the phenomenon they produce; we can never know things as they ''really are,'' or as the thing itself. I think. But as always, I could be catastrophically incorrect about all this.
have surely been negatively impacted by their dead friend's scary need for The Island and his zealous belief in destiny, and so I don't think Jack could intellectually argue the point with Man-Thing. At the same time, did you get the sense that Jack was a little offended for John? I think Jack could and would say that Locke opened his eyes to the need for faith and helped him see that — to paraphrase Shakespeare — ''there are more things in Heaven and Earth, Jack, than are dreamt of in your philosophy.'' If Jack is capable of recognizing that he's been a pawn in a horrible game between morally dubious gods, he must also be able to see that Locke was used as a pawn, too — maybe more of a pawn than any of the other candidates and castaways. What I'm trying to say is that Jack's proper regard for his former Island rival should now be profound empathy — and maybe even a desire to seek justice on his behalf. ''Sucker''? I say, ''There's no need for name-calling, Mr. Monster.''
Not every scene in ''The Last Recruit'' had as much richness as the Jack/Man-Thing encounter. With a few exceptions, the episode was most filled with troop movements and restatements of motivations — putting characters where they need to be, reminding the audience what the characters are playing for. I'm going to trust you saw the episode and spare you the blow-by-blow. But some observations about some of the key Island world scenes and assorted bits that interested me.
THE JACK/CLAIRE REUNION
It was pretty creepy and unsentimental, as it should have been. Claire seemed to be expecting more out of the moment. She latched onto Jack, claimed him easily and heartily as her big brother — and also made it passive-aggressively clear that she didn't appreciate being abandoned and would be quite pissed if it happened again. (This tension and Claire's insecurity played out during the course of the episode, with Sawyer and Kate squabbling over whether to include Claire in the submarine escape plan. I won't be saying much more about the subplot beyond this parenthetical.)
Jack was more wary. Here's how I translated his tone and body language: ''This would be 10 times more Luke-and-Leia cool if you weren't an emotionally needy nutjob/survivalist psycho. Please, don't stand so close to me. You're making me feel uncomfortable, and you smell like wet squirrel.'' To be honest, I think the Jack-Claire twist hasn't panned out to be as cool as it first seemed to be. Making them related by blood nourished the important thematic idea of interconnection between characters that existed prior their Island meeting. It also ratcheted up Jack's angst over abandoning the castaways during his Oceanic days. Perhaps there's time to squeeze more out of it.
Zoe marched into Man-Thing's camp and asked for Desmond back, although she never mentioned him by name. (Man-Thing and Team Widmore may be enemies, but they share a desire to keep Desmond's presence on The Island secret from the castaways.) Man-Thing played dumb. Zoe gave Man-Thing an ultimatum and then offered a demonstration of her firepower. BOOM! went some trees, blown up by Hydra rockets. Man-Thing didn't flinch from the blast, but he acted rankled nonetheless. After all, as he told Sawyer in ''Recon'': ''It's either kill or be killed. And I don't wanna be killed.'' Then he took his Talking Spear — the one he was whittling last week; the one that was going to tell him what it was going to be, not vise versa — and stabbed Zoe's walkie-talkie. (''I know what I want to do when I grow up, Monster Daddy! I want to smash consumer electronics! Me Hulk Spear!'') ''Well, here we go,'' Man-Thing said. I wish to use this opportunity to acknowledge a school of thought that theorizes that Man-Thing's conflict with Team Widmore is a giant ruse, that The Monster and Charles Widmore are actually collaborators in a conspiracy to manipulate (and ultimately destroy) the castaways in order to achieve mutually advantageous goals. We know that Man-Thing wants to leave The Island. What might Widmore want in this scenario? Here's my thought: Charles Widmore wants to replace Man-Thing as the new monster. Before his not-quite-sure-I-believe-it-anymore turn toward righteousness this season, I believed Widmore was driven by a fear of death; becoming a black cloud of all-powerful disembodied consciousness is his ticket to eternal life. I find myself slipping back into that view. Then again, he hasn't been around lately to convince me different. Out of sight, out of mind — and back in the villain box.
NOTES FROM SUN'S UNDERGROUND
Sun wrote Man-Thing a text (via notepad; she kicks it old school) accusing him of shutting off her English. Man-Thing either played dumb or was genuinely baffled. For the record, I initially believed Sun's self-diagnosis. I thought Man-Thing had disabled her ability to communicate for tactical reasons. However, many fans believe that Island Sun and Sideways Sun became psychically linked in ''The Package'' and attribute Island Sun's English loss to the influence of Korean-speaking Sideways Sun. I never understood this theory. Island Sun already knew how to speak Korean and she didn't gain any of Sideways Sun's memories. So how exactly did her clone world counterpart influence her?
Still, last night's episode certainly proved that the reverse is true, that Sideways Sun has received at least a little bit of memory data from Island Sun, as Sideways Sun recognized Sideways Locke and got spooked. My explanation? Jack was correct when he said that Island Sun was suffering from aphasia. I think the emotional jolt of reuniting with Jin cured her of her condition; and I think that Sideways Sun recognized Locke because she's beginning to remember her Island self. More on this in a minute. The burning question: Did you believe Man-Thing when he said he wasn't responsible for her English loss? I kinda did. For anyone clinging to the view that Sideways connection caused her language scramble, and if that view is actually correct, then what are the implications of Man-Thing's cluelessness about Sun's condition? Here's one scenario: it's possible that he may actually have no knowledge of the Sideways world. I don't know if I buy this idea myself; I'm just recognizing it as a possibility.
LACK OF STAR WARS KNOWLEDGE... DISTURBING.
Sawyer looked at Hurley like he was speaking Korean when the ex-Dharma chef (and would-be rewriter of The Empire Strikes Back) invoked the name ''Anakin'' when he likened Sayid's potential for redemption to Darth Vader's character arc in the complete saga. Sawyer knew enough geek stuff to make a ''dark side'' reference, but not enough to know the significance of the name Anakin. Three thoughts: 1. Sawyer is most likely a prequel hater. 2. Sawyer is offering us a metaphor of Kant's Thing-in-itself. He knows Darth Vader only by appearance, but doesn't know the reality behind the mask. 3. Sawyer probably only ever saw Star Wars: A New Hope. Why is this a problem? Because it shows that Sawyer lacks reference points for the kind of redemption that the fallen souls of Lost need. Anakin went to the Dark Side because he stopped believing in distinctions between good and evil. In the process, Little Orphan Annie came to believe he could never been anything but ''evil'' until the day Luke came along and told him that good men who become bad men can become good men again if they only allowed themselves to believe in it. Redemption begins with believing in the idea of redemption. This is the psychological war that Sayid is currently fighting in his own head, and I worry it's one that looms for Sawyer. In other words: the church of Star Wars can solve all of our problems!
Since we're busy over-thinking the implications of Sawyer's cinematic literacy anyway, let's make much ado about the funny nothing of comparing Frank Lapidus to ''chesty'' Burt Reynolds. I'm sure Sawyer likes to think of himself as the Bandit in Smokey and the Bandit, the fun lovin' outlaw anti-hero stickin' it to buffoonishly corrupt authority. But the place where Anakin and Burt meet is Deliverance, and the idea of letting go of your bad self before you can move into the idea of a good self can be summed up in Reynolds' line: ''Sometimes you have to lose yourself 'fore you can find anything.'' (I would explore the possible application of Deliverance to Lost, but my metaphors would be tasteless. Let's just say that I worry that our up-a-creek-without-a-paddle castaways are about to get totally scr... errr, I mean, betrayed by an evil jungle hillbilly.) I look forward to your suggestions for Lost-relevant Burt Reynolds movies or TV shows. Did you know that Reynolds once had a small part in a classic episode of The Twilight Zone called ''The Bard''? It's the one where a hack TV writer uses black magic to make William Shakespeare write a script for him. Isn't that an interesting piece of trivia to know? You're welcome, by the way.
TURKEY SHOOTING: SAYID'S LAST TEMPTATION
It seems to me that Sideways Desmond and Man-Thing are two sides of the same coin. Both are manipulating castaways toward a specific end. Both resort to violence to get what they want. And both are hard to resist if you allow them to start talking to you. Let's hope Island Desmond shares his counterpart's gift for persuasion. Sayid went to the well. He pointed the gun at Desmond sitting in a pool of shallow water. It was an easy shot — a turkey shoot. Sayid wouldn't have missed. But before he could pull the trigger, Desmond spoke. ''So what'd he offer you? If you're going to shoot in cold blood, brother, I think I have the right to know.'' Sayid told him that Man-Thing offered to give him back something he lost — ''the woman I loved.'' (Nadia? Shannon? You will debate, I know you will. I vote Nadia.) Desmond asked him how he thought Man-Thing could make good on his promise given that his lover was dead. Sayid, who attributed his odd resurrection to Man-Thing's magic, said: ''I died. And he brought me back.''Ergo: Man-Thing can bring back his dead lover, too. Desmond shook his head. If we are to believe that Island Desmond shares a mind with Sideways Desmond, then clearly Island Desmond knows that Man-Thing's Faustian bargains won't quite play out the way that the castaways are expecting. (This assumes that the Sideways world is the payout for said bargains.) So why didn't Desmond just say so? Because Desmond can only help bring enlightenment through indirect means. Oh, and by running people over with a car. Fortunately, Desmond's brand of indirect can be pretty damn effective. ''This woman, when she asks you what you to be with her again — what will you tell her?''
FUN FACT! ''Turkey-shooting'' is also a term meaning to solve problems with an unconventional or non-logical approach. Did Desmond ''turkey shoot'' his way out of a ''turkey shoot'' death? Did his question pierce Sayid's zombie hide and make him feel alive again? I say: yes. Sayid didn't kill Desmond. Sayid embraced the ideas Desmond was presenting him — ideas that you can also find illustrated in the Tales of the Black Freighter portion of Watchmen, in which a castaway desperate to be reunited with his wife becomes so warped and twisted in the process that he becomes unrecognizable to himself and even loses the ability to recognize his lover once he's reunited with her. Sayid's biggest problem is that he allows other people to define him — and then buys into it. His father, his country, the United States, Ben, Dogen, and Man-Thing — they've all told Sayid that he's a killer, and he's accepted their judgment. Desmond's challenge to Sayid: Decide for yourself who you are and what you want to be, then believe in it and live it out. I like to think Sayid accepted Desmond's challenge and decided that who he is and what he wants to be is the man Nadia fell in love with — the man who chose not to be her killer; the man who sacrificed his own safety so that she could be free. He made a choice to be that man once. I want to believe that at the well, Sayid made the choice to be that man again.
And by the way, I think Man-Thing is good with that choice. I think Man-Thing wanted Sayid to make that choice. That's why Man-Thing didn't do the reasonable thing and check Sayid's work. What Man-Thing wants is for Sayid to move in the direction of escape/death — which is to say, Hydra Island. If Desmond rekindled Sayid's humanity and soul, and if that fire drives him into harm's way on Hydra Island, mission accomplished. Whatever it takes.
served as a metaphor for the state of ignorance in both the Island and Sideways world. The boat was named after one of their fallen comrades, but they didn't know that, not even Hurley. Desmond could have briefed them, of course. Oh, well.
On the boat, Sawyer tried to engage Jack in conversation, maybe try to work out some kind of peaceful coexistence in the wake of Jack's Juliet-killing Jughead gambit. Yet Sawyer couldn't resist taking a sly shot at Jack's crappy track record as a follower. The insult bounced off of Jack. But then Shephard shared his crisis of conscience, and it only played to Sawyer like a confirmation of Jack's Alpha Male arrogance. ''This doesn't feel right,'' Jack said of leaving The Island. It sounded like superstition, but it wasn't. It was intuition informed by reason — the Locke in him bolstered by the Jack. ''I remember how I felt the last time I left. Like a part of me was missing. We were brought here because we were supposed to do something, James. And if Locke — of that 'thing' — wants us to leave, then maybe it's afraid of what happens if we stay?'' In that line, it seemed to me that Jack was applying several lessons of his Island experience, including all the hard lessons Ben had taught him over the years about Island bad guys. Island bad guys figure out what you want most in life, then exploit it. Island bad guys always motivate you with fear and urgency and want you to act before you've taken the time to think things through. Island bad guys make it sound like you share common interests, but in most cases, whatever it is they want you to do is actually the exact opposite of what you should be doing.
Sawyer didn't want to hear any of this. And alas, his resistance to Jack's warnings was a textbook example of fear clouding judgment. Sawyer desperately wanted off The Island. He'd been put (manipulated) into a situation where he had to move ASAP to get what he wanted. And he didn't have time to consider all the ways he could have been bumbling into disaster. He got played by an Island bad guy. And it made me wonder if Sawyer is about to add his own Jughead to his hero/leader resume. Sawyer forced Jack to make a choice. Stay or go. Jack chose to trust his fully integrated faith/reason self — the ''different person'' he spoke of being to Kate — and jumped off Sawyer's ship of fools.
It was a succession of bitter pills for Sawyer from that point forward. On Hydra Island, Zoe and the Widmore science police greeted Sawyer, Kate, Sun, Hurley, Claire, and Lapidus at gunpoint. At first, the security measures seemed like a precautionary formality. As everyone relaxed, Jin stepped out from behind a tree. Sun spotted him. The reunion was on. Sun spoke of her unflagging journey to find Jin — and she did so in English. There was much hugging, touching, squeezing. Their friends beamed, except for Sawyer. The sight of the Jin/Sun restoration only reminded him of what he would never have with Juliet, and it tore him apart. And then Lapidus got corny. Maybe the show wanted me to laugh. Maybe someone somewhere at ABC was worried that the Lost audience doesn't watch the show close enough and would have forgotten what happened to Sun in ''The Package.'' Anyway, I groaned and was bummed to be taken out of a moment I had been looking forward to for a very long time. Then, more monkey wrenches. Zoe and co. raised their guns. There was no truce. Widmore's sub escape pact with Sawyer was a con. The castaways were made to eat sand. The rockets launched, and Jack found himself in the fearsome hands of the Man-Thing. What a burn.
were transpiring inside characters' heads during the course of their Island adventures. Similarly, the season 6 characters are not literally toggling between worlds. Nonetheless, the storytelling serves as a metaphor for the psychic anarchy that is happening or trying to happen. It's been building over the past couple weeks; I wonder where it goes from here.
Enlightenment-wrangler Desmond conveniently and fortuitously bumped into Claire and steered her in the direction of a lawyer to help her broker Aaron's adoption. The lawyer turned out to be… Ilana! And it turned out Ilana had been all but waiting for her. What a coincidence! Claire's father had died. Ilana's firm represented Christian Shephard's estate, and Claire happened to show up in her offices on the very same day that the brother she never knew she had was stopping by for the reading of Christian's will. So weird! Jack showed up with his son, David. He shook hands with Claire. She explained her relationship to Jack, and as she did, her eyes seemed to shift knowingly in their sockets and an excited smile seem to want to break out. Was she thrilled to discover she had a brother — or had the succession of psychic jolts experienced over the course of her L.A. journey jostled her Island mind to the forefront of her consciousness? I say the latter. But Sideways Jack remained Sideways Jack. And then a phone call summoned him away from the meeting. Claire was visibly disappointed. In general, the Sideways stories in ''The Last Recruit'' raised the question: Just what does it take to become ''enlightened''? Regardless, I wouldn't be too surprised if Jack is the ''last recruit'' to this cause, too.
At the police department, Sawyer waltzed to his desk biting into an apple. Symbol of the Tree of Knowledge, of course, but Sawyer failed to experience a rush of Island self-awareness from his metaphorically loaded lunch. Ditto his interrogation of Kate, which played more like a poor version of their flirty ''I never'' banter from the season 1 episode ''Outlaws.'' They lounged in their leather jackets and quizzed each other about their LAX encounter and their respective secrets. Did you believe Sideways Kate when she said she wasn't a murderer? I did. Did you find yourself wondering if Sideways Sawyer killed an innocent man during his secret mission to Australia? I did, too. But I don't think he did. Why? Because I think it makes for better drama when these Sideways innocents finally regain their Island world memory and have to deal with the realization of their past guilt. For now, I remain convinced that they haven't been Island activated, though the noticeable increase of Island Sawyer swagger in Sideways Sawyer's demeanor did make me wonder if enlightenment is slowly dawning, like gradual turns of a dimmer switch.
cold and hasty good-bye to Nadia as he packed his bags for a life on the lam, and her spooked reaction (''Did you hurt someone?'' And then, chilling: ''What did you do, Sayid?'') only confirmed what Island Desmond had said to Island Sayid about the cost of reunion. Sideways lovers Jin and Sun faired better — and I was irritated. The resolution to Sideways Sun's cliffhanger felt rushed and pat. For the record: Jin managed to call an ambulance despite his lack of English (off-screen) and the doctors managed to save her life and her pregnancy (also off-screen). Boooo! Were Sideways Jin and Sun ''Island enlightened''? I'm on the fence — but I say no, not yet. Or at least, not completely. Sun was wheeled into the hospital with Sideways Locke. She saw him and freaked. It wasn't total recall of all things Locke — he was only a ''him.'' And she seemed to react to him as if he was the Fake Locke — the Man-Thing. Did Sideways Sun momentarily port into Island Sun's head when The Monster was chasing her? Perhaps.
As for Sideways Locke, it was tempting to conclude that he had been ''Island enlightened'' as a result of getting run down by Desmond — but only because the actor and character were denied a chance to speak. I say: Inconclusive. But I liked his moment in the ambulance with Ben, which was intercut with the scene between Jack and Man-Thing on The Island. Ben was getting pestered with all the questions about Sideways John that I wanted asked of Man-Thing, especially the one about his name. During the ride, Sideways John mumbled the name of his fiancé, Helen. I suspect we shall be seeing her imminently, and the one-two punch of Sideways Jack rummaging around in his body with his magic hands and a kiss from Helen should do the trick of finally resurrecting Island Locke in Sideways John's battered, broken body. (Interesting that Sideways Jack recognized Sideways Locke via a mirror. I have no theories about that — yet.) But I expect the next episode to be life-or-death struggle, the Lost equivalent of the ER classic ''Love's Labor Lost,'' with Sideways Jack pushed to the limits of his medical skill and perhaps even his spiritual conviction to save Sideways Locke's life — especially if one or both of them suddenly become ''Island enlightened'' in the middle of the procedure. But I fear the implications of the dural sac…
But that's two weeks from now. No Lost next week. But there will be a Doc Jensen columns this Friday and a week from Friday that will address anything I've missed here. E-mail me at firstname.lastname@example.org. Also follow me on Twitter @EWDocJensen.
Tuesday, April 20, 2010
So AWESOME that I have no fear about the rest of the series 11 (78%)
As GREAT as seeing Michael and Libby again 3 (21%)
OK 0 (0%)
As BAD as having a piece of Illana on you 0 (0%)
As HORRIBLE as being run over by Desmond 0 (0%)
Votes so far: 14
What were your favorate moments in "Everybody Loves Hugo"?
Hurley at Boone Hill 2 (20%)
Michael appearing to Hurley at Boone Hill 4 (40%)
Seeing Hurley's Mom again 1 (10%)
Illana blowing up 8 (80%)
Jack showing trust in Hurley 6 (60%)
Hurley blowing up the Black Rock 4 (40%)
Libby telling Hurley that they know each other somehow at the restaurant 5 (50%)
Hurley meeting with the Institute councilor again 2 (20%)
Desmond and Hurley's talk at Mr. Clucks 3 (30%)
Hurley and Libby finally getting to go on a picnic date! 6 (60%)
Michael revealing to Hurley what the whispers were 9 (90%)
Ben accusing Desmond of being a pervert 4 (40%)
Desmond running over Locke 8 (80%)
Desmond not fearing MIB/Locke and MIB trying to read Desmond 6 (60%)
MIB/Locke pushing Desmond down the well 4 (40%)
Hurley, Jack, Sun & Frank meeting with MIB/Locke and Jack's look of supprise 3 (30%)
Votes so far: 10
What did you think of Libby's guest spot in this episode?
Very Satisfying, enough backstory, great use of her in Hurley's Flash Sideways 6 (85%)
Satisfying, but I wish that we would have gotten more backstory 1 (14%)
Very disapointing 0 (0%)
I don't care ether way about Libby 0 (0%)
Votes so far: 7
Was the answer to the Whispers satisfying?
Yes 5 (71%)
No 2 (28%)
Votes so far: 7
Episode 6x11-6x12 -- Suddenly Everything Has Changed (Happily Ever After / Everybody Loves Hugo) - By Anna
INTRO: The Gold in the Mountain of Our Madness
In what would now appear to have overtaken “Ab Aeterno” as the best episode of season 6 thus far, , “Happily Ever After”, took a heady turn as the story of Desmond Hume was finally continued. It’s been a long wait, as the last we saw of poor Desmond, he was in the hospital after having been shot by Ben back in the season 5 episode, “The Variable”.
“Happily Ever After” was written by Damon Lindelof and Carlton Cuse, and they really outdid themselves with this one. In a season that has been heavily tinged with the concept of faith and rife with religious references, science-fiction fans finally got their payoff with what can be seen as a companion piece to both “Flashes Before Your Eyes” and “The Constant”.
There was very little time spent on the Island in this installment, as once again Desmond’s special consciousness-jumping abilities were at play here, and just as in the past episodes mentioned, we had a bit of flashing to and fro happening for most of the hour. It really felt like an episode from one of the earlier seasons of LOST as well; there was no Jacob and no Man in Black to worry about. However, the shocks came fast and emotions ran high as at last so many of our questions in regards to Timeline-X and its relationship to the Regular Time-line were given a new depth and an interesting hint of clarification.
Click to Continue Reading...
Monday, April 19, 2010
Saturday, April 17, 2010
Check the trailer here:
Friday, April 16, 2010
Author David J. Schwartz once wrote, “All great achievements require time.” For LOST-A-THON, that’s 94 hours of straight television watching.
On May 23, 2010 ABC will air the series finale of its ground-breaking show, LOST. There may be no better way to mark this historic occasion than by attempting to achieve the most epic television marathon of this century.
Welcome to the LOST-A-THON, an event where long-time-ago college roommates Aaron Rosenthal, Alex Green, and Mike Berlin will attempt to watch every minute of every LOST episode – beginning with the LOST series pilot and ending with the LIVE broadcast of the series finale – BACK to BACK! Once complete, we hope to set a new Guinness World Record for the most consecutive hours of television watched in a single sitting (clocking in at ~94 hours total).
Besides indulging our senses in a barrage of LOST episodes, our passion and driving force is to raise over $100,000 for charity as we attempt to mount the Everest of inertia. To accomplish this remarkable feat, we shall forgo common sense, forfeit four days of over-valued rest & relaxation, and most importantly attract support for our charities from LOST fans near and far.
Why are we doing this?
Aaron, Alex, and Mike love LOST, and we also believe heavily in our three charities. Mix these two ideas together, sprinkle in a little crazy dust, and we have LOST-A-THON, a charitable venture centered around the potentially life-altering conclusion of what we believe to be the most remarkable television series of all time.
Our goal; to have some fun, draw support for our awesome causes, and celebrate the unfortunate end to LOST.
We’ll be raising money for three charitable organizations, each 0ne focused on causes we believe have a significant benefit to our society and a special connection to the “LOST” world:
Christopher and Dana Reeve Foundation
Doctors Without Borders
The Nature Conservancy
We are calling every LOST fan, family member, friend, coworker, even that “guy who hates LOST because he watched some episode in season 4 one day and “didn’t get it” but still refused to start from the beginning” to go donate now and show support for our charities, their causes and our LOST-A-THON record breaking attempt.
And the actor says he's 'dreading' the move back to Los Angeles.
Jorge Garcia, who played Hurley on "Lost," enjoyed his time shooting the series in Hawaii. He spent some time showing our reporter some "Lost"-centric locations around the island.
By Maria Elena Fernandez
April 18, 2010
Reporting from Oahu, Hawaii
"In a world of conflict and strife, there is but one fact we all can agree upon: Everybody loves Hugo."
Last week's "Lost" episode began with that statement, as Hugo Reyes, also known as the lovable Hurley, accepted a Man of the Year award. As played by Jorge Garcia, Hurley is the sweet, emotional center of the "bizarro" island, the chicken-loving, numbers-plagued hero who has grown from follower to leader, always expressing what the audience is thinking. Garcia's funny, heartfelt and self-possessed performance made Hurley a fan favorite from the moment Oceanic 815 crashed on the island.
By now, most "Lost" fans know that the show's executive producers went after him for the pilot when one of them saw him on " Curb Your Enthusiasm." Six years and more than 300 "dudes" later, Garcia says he's "dreading" moving back to Los Angeles and knows finding his next gig isn't going to be easy.
"Now when I think about the next job, I use 'Lost' as my benchmark, so I have to think about if it's something that's going to be as satisfying as 'Lost' was," he said. "It's a pretty high mark to have to meet."
For one thing, Garcia knows there probably won't be any turtles on the beach or whales jumping out of the ocean when he drives to work in Los Angeles. "It's very hard to go, very hard. But I think someday I'll live here again," he said, looking out at Mokule'ia Beach, where it all began. That beach on the North Shore is where Oceanic 815 crashed in the pilot, and essentially where the ABC hit was born.
Garcia took The Times on a special "Lost" tour of the island to offer a glimpse at the island's secrets as he has lived them. The series filmed at nearly 600 locations in Hawaii during six seasons, and the tour included some of the most iconic spots used in its 117 episodes. For "Lost" fans, landmarks such as the Santa Rosa Medical Health Institute, Hurley's Golf Course and Dharmaville are freighted with meaning and mythology. For Garcia, even more so.
Visiting those places during the tour, he encountered eager Losties, who stalked him for miles from the Waikane Pier to Kualoa Ranch, asked him to pose for photographs in the pouring rain at the Byodo-In Temple and at Police Beach, where the castaways set up their camp.
As production on the series finale winds down and Garcia prepares to return to the mainland, the 36-year-old actor provided a rare backstage peek at the series that made him a bona fide TV star.
"This period feels a little bit like your senior year in high school, where you're savoring it more," Garcia said. "You're leaving room to have fun but you know there's a moment of sadness in your future and you're keeping it at bay for as long as you can. We're too buried in work to really sit and think about it too much, but it's definitely more real now that the end is coming."
The latest Lost concluded with Hurley (Jorge Garcia) leading the remaining candidates into the Man in Black's camp. Apparently, Hugo Reyes has gone crazy, right?
"He's trying to protect everybody like he's always been," insists Garcia, who adds that Ilana's death was the catalyst for Hurley taking a leadership role. Plus, Garcia says: "Having that connection with Jacob [Mark Pellegrino] has definitely given him a bit of chutzpah to take more charge and get stuff done.
"He might be pushing the limits a little bit, but when you have a show with Ben Linus [Michael Emerson] on it, it doesn't really look so bad, what he does, just yet. His intentions are right. It's the last season, so we have to get to the end, so we might as well go and face each other!"
The next episode will pick up with the pow-wow between good and evil starting, Garcia says. He adds that we needn't worry about the safety of Hurley, Jack (Matthew Fox), Frank (Jeff Fahey) and Sun (Yunjin Kim). "[The Man in Black] did give them their word that he wasn't going to do anything. It's been established that he has to keep his word," says Garcia. "So if he gives his word, then he's bound to it."
The question remains: Will the candidates try to blow up the plane to stop Old Smokey from leaving the island? "They built a huge airplane fuselage, complete with wings out of wood and foam," says Garcia. "It would be a really beautiful thing to blow up."
Garcia, who plans to move back to Los Angeles when the show concludes, says the cast will still be shooting until April 24, but they have just wrapped a crucial location: Hawaii's Kualoa Ranch.
"When we were shooting, we had a moment where we held each other's hands and hugged because Kualoa Ranch was Day One of the pilot, so it's always going to be special that way."
Who was missing from that group moment?
"I can't really tell you who was there," Garcia says, "It's safe to say that Ilana is not going to be the only casualty of the great Lost battle."
Unlike most of the other dead characters who have stopped by for Lost's final season, Harold Perrineau's Michael makes a return to the island, in part to unlock a mystery.
"I think they brought everybody back so they can answer all these questions," Perrineau tells TVGuide.com of his appearance Tuesday night (9/8c, ABC). "I got to go back and answer one of the bigger questions — not necessarily about Michael, but one of the bigger questions about the island."
Michael, who Perrineau assures us is most definitely dead, is also on a mission to help Hurley (Jorge Garcia), the island's resident ghost whisperer. "Hurley's in a position that he's not comfortable being in now the he's sort of a leader," Perrineau says. "There are a bunch of things going on, and Hurley has to step up a little bit. So Michael's helping him do that."
Also appearing to Hurley is his unrequited love, Libby (Cynthia Watros), who Michael shot and killed in Season 2. Perrineau says everything Michael did after that — including his self-sacrifice on the freighter in Season 4 — has been in search of redemption.
"[What he did] on the freighter is the only redemption I guess Michael is going to get," Perrineau says. Nevertheless, Michael will have a chance to make amends for killing Libby.
"I did get to apologize," Perrineau told us in February. "And every time I did it, it was really emotional. There was something really nice about it. It's not just apologizing to her, but an apology to Hurley."
Perrineau says he loved having the opportunity to shoot scenes one last time during the final season and that he's pleased with his character's coda.
"It's the last season, so everything feels nostalgic," he says. "The first year, you got introduced to characters that you fell in love with. Through the years, it's been this big story, and I liked that. But [those characters] have come back, and I think that's a really great thing for the fans who really did love those characters from the beginning. It's a great little bookend to at least get to say, 'OK, goodbye, Michael.'"
(Additional reporting by Natalie Abrams)
what i love to see it because i think we can expect fews of them there to promote LOST season 6 in france and there is HIGH chance i'll go too :)
The nominations regarding comedy and dramatic TV series have been announced for the 2010 Monte-Carlo Television Festival. As always, Canada and the USA are both part of the competion. Furthermore, the festival will be held from June 6 to 10.
American dramatic TV series:
Speaking about American dramatic TV series, Dexter, Lost, Mad Men and Spartacus: Blood and Sand will try to make Uncle Sam's voice heard.
In the category of best actor(s), Michael C. Hall and John Lithgow will represent Dexter and Jon Hamm, Mad Men. Andy Whitfield and John Hannah will compete for Spartacus: Blood and Sand. As for the men of Lost, there will be Naveen Andrews, Nestor Carbonell, Jeff Fahey, Michael Emerson, Matthew Fox, Jorge Garcia, Josh Holloway, Daniel Dae Kim, Ken Leung and Terry O'Quinn.
For the ladies, the nominees will be: Julie Benz and Jennifer Carpenter (Dexter); Emilie de Ravin, Yunjin Kim, Evangeline Lilly and Zuleikha Robinson (Lost); January Jones and Elisabeth Moss (Mad Men); and finally Lucy Lawless (Spartacus: Blood and Sand).
source : http://anhkhoi.blogspot.com
By Jeff Jensen Apr 14, 2010
Chaos reigns. That's the tagline from the controversial film Anti-Christ, the feel-bad love story of the decade, and it can just as easily be applied to last night's Lost, which left me feeling disturbed despite being a charming feel-good love story about Sideways Hurley's $100,000 date with Libby, the loony bin Pretty Woman. Taking its cue from those ''highly unstable'' sticks of Black Rock dynamite, ''Everybody Loves Hugo'' was another sweet-and-funny installment in the larger Hurley subgenre, but punctuated with momentous WHAT THE HELL IS GOING ON?!? shocks, twists, and narrative anarchy. Ilana blew up. The Black Rock got obliterated. SatanaLocke threw Island Desmond down a well while Sideways Desmond ran down Fake Locke with his car, leaving everyone's favorite clone world substitute teacher a bloody, convulsing bag of bones. Immediately after watching the episode, my colleague Adam B. Vary stumbled into my office, rattled by Sideway Desmond's apparent demonic turn and even more rolled by Sideways Locke's life-threatening peril. I share his shakes. Sideways Locke! Our last remaining vestige of the late and equally fate-screwed John Locke! Why does cosmos hate this man? What remains of our beloved man of faith? Sleeping Beauty Hurley may have gotten a magical kiss of awakening from Princess Charming Libby... but all we got was Kiss' ''All Hell's Breaking Loose.''
Of course, almost every single statement in that preceding paragraph is open for debate and re-interpretation, and I shall do my level best to mull all the provocative possibilities as we move through the recap. But let's hit up high that amid the ambiguity, we got an answer to one of Lost's major mythological questions. What are The Whispers? They are the souls of The Island dead that have not been allowed to move on because of their actions on The Island. No big surprise, but satisfying, nonetheless. Hurley puzzled most of that together himself. Confirmation and elaboration came courtesy of Michael, a member of the phantom chorus. But was Michael an Obi-Wan guardian angel or a Darth Sidious misleading menace? And didn't it almost sound as if Lost was putting Purgatory theory back on the table after so many years of denying it? I can't deny that it did, but I'm not believing, despite all those conspicuous references to a ''God forsaken'' this and a ''God help us'' that.
Complicating matters was the book that Hurley found while rummaging through Ilana's stuff: Fyodor Dostoevsky's Notes From The Underground. This isn't the first time this season Lost has cited a seminal text in the canon of existential lit. In ''LA X,'' Lost cited Fear and Trembling by Soren Kierkegaard, a writer whose fingerprints seem to be all over the season. For example, have you noticed the conspicuously repetitive practice of presenting characters would either/or choices? Kierkegaard's oeuvre includes a work called Either/Or. (And Repetition, too. And before I get the e-mails: Yes, maybe The Sickness Unto Death has something to do with The Sickness, as well.) But I think last week signaled an even deeper dive into existential thought with that rabbit named Angstrom. ''Angst:'' a word that comes to us from Kierkegaard. ''Angstrom:'' a unit of measurement in electromagnetic radiation and other natural sciences. It's almost as if Lost is now declaring existentialism as the philosophy that fuels its intellectual engine, especially here in the mirror-fixated season 6; a key tenet of existentialism, be it the Christian brand endorsed by Kierkegaard or the godless kind represented by Jean Paul Sartre, is the idea that reflection creates identity. Perhaps The Island isn't a magical place that traps souls or spirits. Maybe its unique physical properties allow it snare energy patterns of consciousness. Heck, maybe ''trapping'' and ''snaring'' are the wrong verbs. Maybe The Island unlocks, cultivates, or even makes consciousness.
We needn't be so deep. Notes From The Underground — considered the first existentialist novel — was an ironic choice for an episode that saw Desmond get tossed into the Island underworld. (It seems Desmond's Island fate is to always end up in some kind of hole in the ground.) But it was also an apt choice for an episode that offered a comic take on Dostoevsky's tale of a not-so romantic date from hell, and also illustrated the author's philosophy of the mind: tortured and tumultuous, torn between action and passivity, a riotous collection of conflicted voices that's close to could be called neurotic and has been often likened to schizophrenia. In other words: chaotic. Or: ''highly unstable.''
And that may not be a bad thing. Existentialism would have listened to Libby's description of her fractured, flooded mind and agreed with her when she said: ''You mean I'm not crazy?'' Existentialism would say: ''Nope. Actually, you're more 'sane' than a normal person.'' I might suggest that Libby's discombobulating, vertiginous reaction of suddenly being filled with memories of her Island life is equivalent to Jean Paul Sartre's concept of ''Nausea,'' an almost sickening hyper-acuity to the true nature of her reality and painful first glimmerings of elevated consciousness. On the turbulent flight from being to becoming, existentialism might say, ''Pack a barf bag. You'll need it.'' As you read the following excerpt from critic Richard Pevear about Notes From The Underground, think of Spiritually Numb Sayid and Spiritually Alive Hurley — points on an upward arcing curve of existential heroism, from sleepwalking to waking life, from lost to found:
''The one thing that [Dostoevsky's] negative characters share, and almost the only negativity his world view allows, is inner fixity, a sort of death-in-life, which can take on many forms and tonalities, from the broadly comic to the tragic, from the mechanical to the corpse-like... Inner movement, on the other hand, is always a condition of spiritual good, though it may also be a source of suffering, division, disharmony, in this life. What moves may always rise.''
Chaos reigns. And chaos may be good. Because I'm beginning to think that the world of Lost, there is no such thing as ''the right move to make,'' no such thing as ''a master plan.'' Such was the theme of ''Everybody Loves Hugo.'' See: Hurley's go-with-gut Sideways romance; Hurley's making-up-as-you-go-along approach to castaway leadership; and Fake Locke's Parable of the Stick, which left me wondering if Lost was actually confessing something about its own creative process. In life, in art, and on The Island, there is just trial and error, mistakes and fixes, blunders and recoveries... and somehow, someway, something happens, something is produced, something you never intended, but something that never would have happened unless you tried, and the most heroic thing you can do is move into that something when you finally see it — and hope that something will allow you to do so.
Then again, I can be completely wrong.
CONVERSATIONS WITH DEAD PEOPLE AND OTHER SKY BULLIES
In which the author begins the recap proper with an oblique reference to Joss Whedon's Buffy The Vampire Slayer that will never be explained, and then proceeds to deviate from his usual recap structure with a Talking To Himself Q&A format that was inspired in the middle of the night, that treacherous time when allegedly inspired ideas suddenly reveal themselves to be horrible choices once exposed to sunlight.
First question. Why is Lost 6.0 so fixated on work?
KATE: Jack told me about your job. At least we have jobs again, right?
HURLEY: Hooray for us.
''Everybody Hates Hugo,'' Season 2
Fugitive Kate runs. Pregnant Claire carries a life. Locke lost his job, felt emasculated, scrambled to get one back. Jack, Sayid, Ben, Sawyer, Jin, Desmond: career-absorbed men. A dozen hours into the final season of Lost, we see that the Sideways characters are largely defined by what they do — by their busy-ness and by their business. The cost of all this struggling and striving has been a diminished ability and interest for introspection. The characters that've had mirror moments have, at best, detected something worth thinking about, but don't. At worst, they don't see themselves at all. One of the concerns of existentialist literature — especially Dostoyevsky — was how both Communist and Capitalist cultures left their citizens too fatigued for the work of personal enrichment, i.e. enlightenment. The psychologist Erich Fromm saw an even more profound problem: he believed a culture of work was crippling our capacity for love. He believed the magnum opus of all individuals was to reorganize his and her values and re-energize themselves to pursue ''the art of loving.'' It's interesting that the Sideways character that has come the closest to having a self-generated moment of clarity while looking in a mirror was its only unabashed romantic: Sun. Also interesting? Wealthy; no job.
Enter Sideways Hurley, who both subverted and affirmed the theme. We met him as he was being celebrated for his work as... a giver. Hurley didn't get a conventional mirror moment. Instead, the fast food magnate got a short film praising his extraordinary and extensive philanthropy. Hurley saw a lot of himself in the film — building parks, building playgrounds, all sorts of ''goody-goody bulls---'' to borrow phrase from Pink Floyd's ''Money'' — but he failed to recognize the sad, comic ironies that we saw. He had procured his ''Man of the Year'' award from the Golden State Natural History Museum by financing a new paleontology wing for Dr. Pierre Chang. (Loved his cameo — but where was Charlotte? On a candy bar date with Daniel? At home alone, macking and munching on her own Duncan Hines Brownie Husband?) In the second season episode ''Everybody Hates Hugo,'' Hurley worried that wealth, power and privilege would leave him isolated and unloved. The Sideways Hurley of ''Everybody Loves Hugo'' leveraged the wealth, power and privilege generated from his ''lifelong love affair with chicken'' to feel cherished and adored. ''Hugo and giving became synonymous,'' Dr. Chang said in his ode to Hugo. What he didn't mention was the unhealthy psychological return he got on his investment: a fraudulent sense of self-worth. Ah, the things we do for love. Sing it, 10CC!
Too many broken hearts have fallen down the river
Too many lonely souls have drifted out to sea
You lay your bets and then you pay the price
The things we do for love
(The things we do for love!)
You'd think the Man of the Year's mother would be proud of her son. But Carmen Reyes was less than thrilled with Hurley. She had accompanied him to the dinner as his date — a role she had filled many, many times. She had a beef with a beefy boy: Dude needed a girlfriend! What he needed was to cut the Huey P. Long/''Share The Wealth'' routine and go Huey Lewis; he needed to feel the power of love in a more personal, spiritual way; a healthy love that sticks around and fills you up longer than a fatty, fleeting value meal of fast, purchased affection. As his mother put it: ''You need a woman in your life, especially one who has not nursed you.'' (A similar nursing joke had been made in ''Everybody Hates Hugo.'' Translation: Hugo looks like an adult, but has a child's underdeveloped ego.) Hugo said he was too busy to meet chicks. His mother said: ''No, you're too scared.'' And so it goes that The Chicken Man was actually a big chicken. Had Jean Paul Sartre wandered into the scene a la Marshall McLuhan in Annie Hall, he might have noted that while Humanists can fill up their love cup with abstractions, existentialists need a love that's personal, visceral and messy. You know, like a crazy chick from a loony bin. (Libby = A Mind, Destroyed = Simone de Beauvior. Oui or non? Debat!)
FUN FACT! Did you catch that reference to ''The Human Fund,'' the fake charity George Costanza invented on Seinfeld? It's also the one where Elaine became fixated with earning ''submarine captain'' status at her fave sub sandwich shop. Anyway: Happy Festivus!
What was the significance of Hurley's Man of the Year award?
''Please don't give up, Des. Because all we really need to survive is one person who truly loves us. And you have her. I will wait for you. Always. I Love you, Pen.'' — The closing lines of Penelope's letter to Desmond, ''Live Together, Die Alone,'' Season 2
In the wake of last week's episode, we now know that having a soul mate is beneficial if not essential to lighting up the Sideways peeps with past-life Island awareness. This brings us to the Hurley's T-Rex shaped Man of the Year award. Tyrannosaurus Rex: ''king tyrant lizard.'' An interesting allusion for an episode about leadership, but also an ominous symbol for a season that finds the castaways shuddering under the dark cloud (literally) of potential extinction — provided, of course, you actually believe Charles Widmore and Richard Alpert when they say that some kind of reality-blotting catastrophic event will occur should Smokesaurus Rex succeed in escaping The Island. Yet the psycho-spiritual-celestial-quantum mechanics of the Lostverse seem to allow for the continuance of mind and/or spirit provided that one has love in their life. The best articulation of this Good News comes to us in Penelope's ''Live Together, Die Alone'' epistle. Bottom line: The castaways need a constant, a better half, an Eve to their Adam or vise versa.
And I would remiss if I moved off from the point without wondering if Hurley's dino-plaque, in a scene where his mother lectured him about the lesson about Genesis 2:18 (''It is not good that man should be alone. I will make him a helpmate''), was meant to remind us of the moment back in ''Lighthouse'' when Hurley offered up his theory about the Adam and Eve skeletons? ''What if we time-traveled again? To, like, dinosaur times? And then we died and then we got buried here? What if these skeletons are us?'' I have some more thoughts on this — but well get to Desmond-down-the-wormhole in a couple thousand words from now.
Why doesn't Libby visit Hurley? And can Dead Michael be trusted?
''To not be aware of the processes around you allows you to be taken advantage of by others who do. You are disenfranchising yourself from the democratic process.'' — Neil Degrasse Tyson, astrophysicist
Off this moment of fat cat Man of the Year Hurley getting drilled on the life-saving (and mother-relieving) power of love, Lost jump cut to... Island Hurley, in the Island graveyard, trying to summon the spirit of his coulda-been/shoulda-been Island girlfriend, Libby. That may have been one of the most meaningful transitional edits/segues Lost has ever given us. It was an inspired, poignant way of critiquing materialistic values and saying ''The playwrights are correct: You Can't Take It With You.'' Because I do think that's the measure of character growth in this show: What have these people done and what more can they do to cultivate a heart/mind/soul that can survive into the next life?
The shot of Hurley kneeling at Libby's plot and explaining his backstory with Libby to Ilana's arm moved me. He asked why she hadn't visited him as Charlie, Mr. Eko, Ana-Lucia and others have done. I think one of the most important things to take away from that moment was that Hurley himself doesn't understand his powers. This puts him in a position to be exploited. We know that Hurley is the kind of guy who needs instruction, who will always defer to ''the expert.'' Jacob him told him so in ''Lighthouse.'' He's also the kind of guy more inclined to trust anyone else but himself. And if that person happens to be dead, all the better. As Hurley told Miles, ''Dead people are more reliable than alive people.'' Miles was taken aback to hear that the spirits often yell at Hurley. I got the sense that perhaps Miles, who knows a little something about spirit voices, was suspicious of this claim — as if belligerent spirits wasn't exactly his experience, as if bullying ghosts are actually not things to be trusted. I also wondered if Miles was seeing what I was seeing: a guy who desperately needed to start thinking for himself.
So why hadn't Libby visited Hurley? I think because she had been allowed to move on. She didn't meet the criteria to be an Island-bound whisper: she lacked a burden of guilt that would keep her shackled to this world.
But can we trust Michael? He barged into Hurley's private moment with not-there Libby and barked at him. ''I'm here to stop you to get everyone killed,'' Ghost Michael huffed. I got a whiff of the same kind of agita that animated Michael's bid to persuade the castaways to buy into his ''Walt rescue plan'' — which is to say, con them into falling into a trap. Hurley seemed initially dubious. After all, Michael was the one who had killed Libby on the day of their big beach blanket date. Still, Hurley caved. I do think we need to be wondering: Are these ''ghosts'' really ''ghosts'' or are they illusions conjured by some Island agency, i.e. Jacob or the Man In Black? If they aren't illusions, are they managed or controlled by some Island agency, i.e. Jacob or the Man In Black? Finally, whether these ghosts are puppets or not, what are their true intentions? Do they want what's best for the castaways, or what's best for themselves, or what's best for their masters?
to pick on Hurley in particular. But first, this:
Is this the part where you attempt to prove that the scene where Ilana died was a dramatic representation of existential consciousness at work?
Ummm... No! Why would you ever think that?! Hurley went to camp, where Richard and Ilana were mobilizing the castaways to launch Operation: Ajira-splosion. Hurley followed through on his instructions and tried to grind the action to a halt. Why are we doing this? We could get ourselves killed with that dynamite! And if we blow up the plane, then how do we get off The Island? I don't want to be stuck here with ''That Thing''! (The continued objectification of Fake Locke as some kind of inhuman abomination was both creepy, understandable, and suspicious to me. I'm not sure I buy their demonization. Do you?) Richard and Ilana got pissy with Hurley, and to be honest, I found myself feeling a little frustrated. Hadn't we seen this debate before, like, two episodes ago, with Sun playing the Hurley role? Yes, we had. Then Ilana carelessly dropped her bag of Black Rock dynamite and blew herself up. I should have seen it coming, but I gasped anyway. Her detonation evoked memories of Doc Arzt's die-no-mite! death in Season 1, and I so wanted Hurley to say to someone: ''Dude. You have some Ilana on you.'' But it also reminded me of the fiery death of Neil Frogurt, who got shot up with flaming arrows while bickering with his friends about the direction of the group. The attack and Frogurt's death was a catalyst for the castaways to act. Ditto: Ilana's death. Single-minded Richard resolved to go back to Black Rock and fetch more dynamite, and in an apparent reversal, Hurley supported the plan, although we later learned he had a subversive agenda. Seen in the abstract, with the castaways representing a singular entity, the scene was a metaphor for existential consciousness: fragmented, argumentative, double-minded, self-referencing but non-reflective, inert to the point of paralysis, compelled to action only by crisis. (Sorry. I lied.)
What was in the pouch that Hurley found among Ilana's stuff, next to her Cyrillic edition of Notes From The Underground?
It was Ilana's stash of Jacob ash. We had seen her scoop some of his remains into her pouch back in ''The Substitute.'' What's so special about Jacob's ash? Does his ash contain magic properties? Can it keep Smokey at bay? Or does it contain remnants of his consciousness? Is it possible that the decisions Hurley made from this point forward were being psychically influenced by Jacob's sack o' sentience?
Why did Hurley assume Ilana's role of candidate protector? Why do the dead pick on Hurley?
Because Hurley felt he was responsible for her death. If he hadn't bickered with her, she wouldn't have blown up. I'm not saying you should agree with this logic. I'm just trying to show you how Hurley thinks. Remember the reason Island Hurley was in the mental institution? Hurley had come to believe that his girth was responsible for a deck collapse at a party that killed two people. Guilt and depression rocked his mind. I think the same dynamics motivated him to take up Ilana's duties, though not her mission. He would protect the candidates his way. That meant executing a pretty ironic con: pulling a Michael and tricking his castaways into a double-cross. He led them to think he was on board with the Ajira-splosion — and then he blew up the Black Rock in hopes of preventing them going Ilana and getting themselves killed. He couldn't live with the guilt if they did.
I think the Island dead pick on Hurley because he's their best bet for helping them get what they really want: release from The Island. Because if Hurley really has led all of them or some of them to their death by leading them into Fake Locke's camp, thus trapping the souls of even more of his friends on The Island, I think Hurley would stop at nothing to atone for that. Put another way, Michael may indeed have been playing the role of treacherous manipulator by directing Hurley toward Camp Locke, and again for the same reason he betrayed the castaways back in Season 2: to escape The Island.
That scene in which Jack and Hurley stop in the middle of the jungle, and Jack comes to the conclusion that his Island journey has been accepting the limits of his agency and power, and Hurley wonders if that's exactly the thing Jack shouldn't do, and then puzzles together the mystery of The Whispers — are you seriously going to bring this already ponderous and labored dialectic-as-recap to a grinding halt in an attempt to convince us that that scene had something to do with existentialism?
''It is quite true what philosophy says, that 'life must be understood backwards.' But that makes one forget the other saying: that it must be lived forwards. The more one ponders this, the more it comes to mean that life in the temporal existence never becomes quite intelligible, precisely because at no moment can I find complete quiet to take the backward- looking position.'' — Soren Kierkegaard
This sentiment, by the way, is reflected in Notes From The Underground, which has the protagonist reflecting on an event that occurred many years later — a darkly comic tale of love, about the ''hero's'' fateful night with a prostitute who had foolishly fallen in love with him — and coming to some conclusions about himself and his relationship to society and art and any number of things. Whether those conclusions are correct is kinda beside the point of existentialism. What's most important is the attempt to take control of one's life, to manufacture experience into identity, birth consciousness out of suffering, and then live to fail and learn anew.
Wait! Wasn't Sideways Hurley's love story with Libby kinda like a happily ever after version of the Notes From The Underground ''love story''?
Correct! In Notes, the protagonist quite incidentally strikes up a relationship with a prostitute named Liza. His philosophy changes her life, inspires her to lead a better life, and she falls for him. In other words: consciousness-altering love. This turn of events freaks out the protagonist, who then tries to discourage her from loving him by denigrating himself, then her. He succeeds in driving her away, then comforts himself with the fantasy that by wounding her with an insult, he has put an anger into her that will drive her to become a better person. Had she stayed with him, his loathsomeness would have only destroyed her.
In ''Everybody Loves Hugo,'' we had Hurley, similarly possessed with low self-esteem, falling for Elizabeth (Libby), after a chance encounter at a restaurant called Spanish Johnny's. FUN FACT! Spanish Johnny is a character in a novel called The Song of The Lark, about an opera singer's rise to artistic self-fulfillment. Of course, Spanish Johnny is also a character in the Bruce Springsteen song ''Incident at 57th Street,'' in which the young romantic is described as being ''dressed just like dynamite.'' You can find the song on the same album that includes the song that shares its title with the name of the woman Hurley was supposed to meet at the restaurant: Rosalita.
Elizabeth was no Liza-esque whore — but Hurley did have to pay off Libby's shrink to get a meeting with in the rec room. Notice all the butterflies on the wall? An allusion The Butterfly Effect concept Chaos Theory, perhaps? Libby revealed that she found herself having a consciousness-altering moment while watching one of Hurley's Mr. Cluck's commercial. It was so overwhelming, she checked into Santa Rosa. Hurley couldn't relate to her odd experience, but he dug her just the same, and asked her out. And so at last, Hurley and Libby had their beach blanket date. And when they kissed... ooooooh... ''Fire!'' Hurley's head filled with visions of The Island. With that, another Sideways character had been born again with a glimpse of another world and potential for richer, more expansive form of consciousness.
But Doc! You're completely skipping the part where Hurley, gorging on chicken as he is wont to do when he finds himself depressed and suffering from thwarted will, had that encounter with Desmond. Don't think this encounter had some kind of supernatural affect on Hurley, setting him up for Libby's mind-blowing electric feel?
Maybe. Sure. Regardless, I think you covered the moment sufficiently.
Okay. Why was Fake Locke whittling that piece of wood? That was rather random, don't you think?
Yes, and it was really provocative, too. Sawyer came upon The Incarnate Smoke shaving the outer skin off a tall pole. ''That going to be a spear?'' Sawyer asked sarcastically. James was frustrated; he was tired of sitting around and waiting for Fake Locke to make good on his promise to get him off The Island. Against, we had another scene with arguing over action vs. inaction and the inertia/angst that's produced by the friction — classic existentialist ''to be or not to be'' stuff. And like the beach scene, I found myself initially feeling Sawyer's frustration: How many episodes has Camp Locke been parked, anyway? How many times are Sawyer and Fake Locke going to have this spat? But then things got interesting.
Locke answered Sawyer's question: ''I don't know what it's going to be, James. When the time is right, it'll tell me.'' Sawyer cracked ''You talk to wood now?'' Locke's response reminded me of Michelangelo. The legendary Italian sculptor believed that he didn't carve statues. Rather, he merely removed pieces of stone to discover the form trapped inside, waiting to be revealed, waiting to get out. We could note that The Parable of the Stick stands as a metaphor for the unfolding mystery of season 6, and leave it at that. Or we could go deeper.
We could talk about how Locke, by way of Michelangelo, links us to Platonic and Neo-Platonist philosophies. We could talk about how this links us to concepts like demiurge, or Nous, world soul, the phenomenal world, celestial hierarchy, and dynamis, from which we get the word dynamite. In the next couple weeks, I'll try to spell this out some more in my Doc Jensen columns. For now, there is this: Lost is picking a philosophical fight with these kinds of ideas. The conflict is this: If we have souls, then how do we view our bodies? Do they even matter? Are we merely spirits trapped in substance, waiting to be realized and released? Or does soul and body represent an intrinsic, inseparable whole? If matter doesn't really matter, then what is our responsibility to the world? Should we remain attached or detached from it? Is reality really ''real'' or an illusion? I can go on; I really want to share with you my idea that Jacob, the Man In Black and this whole demiurge concept is another metaphor for Lost's creative process. But for now, let's leave it at this: For all of you debating the nature of Lost's duel worlds — is one real or are both real; is there one that is ''good'' and one that is ''evil''; can both co-exist or must one win out — my guess is that you are asking exactly the questions Lost wants you to be debating.
Sawyer challenged FLocke to explain his sitting-on-his-duff strategy a little further. FLocke obliged. He said he needed all the candidates before he could make a move on Ajira. He said was basically going to wait for them to come to him. I got the sense that while FLocke definitely operates with more knowledge than anyone else, he isn't all knowing, and that like Ben, his greatest gift might be at improvising and responding creatively to unexpected developments and random bits of chaos that life throws his way. And so it went that Sayid brought his boss to Desmond.
Explain the well. Please.
You know what I loved about The Well? I can't explain it. I literally have no idea what the hell happened there. I spent a lot of time researching the significance of Desmond getting thrown down the well. I found so many rich allusions, beginning with an Chinese folk tale called ''The Man Who Was Thrown Down A Well'' that just feels so dead-on Lost and so specific to this episode that it gave me goosebumps. It tells the story of an unredeemed soul who gets unjustly thrown into a well where he encounters spirits who are trapped and yearn to move on into the afterlife. They help do his penance and become a better person, an then after three years (the same amount of time Desmond spent in The Hatch), he returns to the surface world, forgives the man who threw him into the well and fulfills his promise to the lost, trapped souls. Then again, there's ''The Man Who Lived Underground'' written by Richard Wright, the great African-American author of Native Son and The Outsider, a provocative existential novel whose anti-hero protagonist has a pretty irresistible Lost-esque name: Damon Cross. Then again, there's the story of Joseph, the seer who was thrown into a pit by his brothers and sold into slavery, just because they were jealous that Daddy loved him so much to give him a technicolor dream coat. Daddy's name? Jacob. And then there are number of ancient gods who resided deep below the Earth. They were known as Chthonic deities, and they include such names as Hades, The Furies, and Iacchus, born in the Underworld and considered the ''torch bearer'' of mysteries and herald of the goddess Demeter. You know how the ancients paid homage to Iacchus? By tossing a torch. And what did Fake Locke do right before he told his strange tale of mystery hunters (Dowsers?) who dug in the dirt searching for answers and finding nothing? He tossed his torch into the well. Was Lost just playing with us? And by ''us,'' I mean people like me, who go digging in its dirt looking for answers? Or could Fake Locke really be a god of antiquity, a la Iacchus, son of Demeter?
Or maybe The Well is a wormhole, and Desmond got sent back in time to become the Adam of the Adam and Eve skeletons. Is Penelope far behind?
Regardless, I was struck by Desmond's fearlessness. He seemed to manifest all the qualities of both the fully realized existential hero and the fully realized mythic hero. At peace with time and death, grounded in the moment and his identity, absolutely unafraid. And so when Fake Locke threw him into the pit, I couldn't tell if he was nullifying a threat (as it happens, ''the man that gets thrown down the well'' is name given to a classic story trope in which the hero finds grappling with a penultimate peril — one last trial before his final battle) or if perhaps he was doing Desmond a favor. Perhaps The Well is a link to the next realm of existence. Perhaps Fake Locke was completing Desmond's cosmic promotion. Or maybe... Desmond's just stuck at the bottom of a well. We shall see.
When Fake Locke asked Desmond if he knew who he was, and Desmond replied ''John Locke,'' did you get the sense that the reason that Fake Locke threw Desmond into the well was because Desmond had stumbled on his big secret — that this Fake Locke thing who's been claiming not to be John Locke all season long really is John Locke?
Yes. I thought that thought.
So if the Man In Black really isn't Fake Locke, then… who or where is he?
He's in the body of Frank Lapidus.
Okay, fine. What's your ''genius'' theory for why Sideways Desmond ran down Sideways Locke?
Again, another scene that left me chilled and baffled, which made me dig it even more. I think we have to wonder if Sideways Desmond is now fully self-aware with all of his Island memories, past, present and future. I don't think Desmond ran down Sideways Locke for revenge. I think it's possible that Desmond tried to kill Sideways Locke to prevent Fake Locke from migrating into Sideways Locke's body, but that strikes me as cruel that Desmond would basically murder an innocent man just to prevent his future corruption. So I'm thinking the most likely scenario for a hero like Desmond is this: I think Fake Locke has been inside Sideways Locke all along, and Desmond tried to kill him to force Fake Locke back into the Island world.
Or maybe Desmond is just a really bad driver. He is from Scotland, you know. Maybe he's not used to driving on the proper side of the road.
Can we stop now?
Oh, but I wasn't able to explain how Aristophanes' comedy The Bird totally explains Hurley! And what about my plans to weave in Leo Tolstoy, the Cosmic Dancer, and the legend of Adam Kadmon? And I forgot all about my Don Quixote references! But yes, we're stopping. I'll be back on Friday with a Doc Jensen column. If you have a question about the episode, shoot me an e=mail at email@example.com. Until then, you have some options. You can watch some Totally Lost, which you'll find waiting for you at the end of this paragraph. Or you can use the message boards below to start blasting my pretentiousness and redeem it with insightful conversation. But hey: that's existentialism, too! My errors + your corrective notes from the (message board) underground = an riotous and disagreeable dialectic that produces consciousness and hopefully enlightenment! So come on, ''You All Everybody!'' It takes a village to figure out Lost, so make like Michael and start yelling at me already!