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Answering Questions about Lost, Assuming You Are Caught Up

Answering Questions about Lost, Assuming You Are Caught Up

Thompson on Hollywood

From the very beginning with Lost, you hang onto the characters and Oscar-winner Michael Giacchino’s score for dear life and suspend disbelief. It never did make any sense! (The NYorker profiles Oscar-winner Giacchino; see clip below.)

Even so, while the finale worked for me to a degree (there was one soppy moment with Benjamin Linus that went too far), I was confused. When Jack closes his eye at the end, is his life flashing before his eyes? (Obviously, much of the show was shown from many other points-of-view.) According to ABC, when Jack died, he joined a group of already-dead people in this transitional space, and was joined by others as they also died, before they could all move on. It turns out that they weren’t all dead from the time of the first airline crash.

That misapprehension came about because ABC misled a lot of folks by hamfistedly sticking in one last shot of the Oceanic 815 plane wreckage as transitional filler. This caused LAT writer Mary McNamara to get the whole thing wrong; the LAT followed up with another story reflecting ABC’s clarifying email. Someone at ABC is in trouble with exec producers Damon Lindelof and Carlton Cuse, who have enough ‘splaining to do without somebody else making it worse! (Television without Pity has a recap.)

Here’s a selection of folks on the finale: David Chute; EW’s Ken Tucker and Lost expert Jeff Jensen, Movieline’s attempt to tie up the loose ends opened up by the video below; and a more serious approach byErin Andrew and MTV. (I still want to know: why did Jack, who was supposed to protect the island’s power-light, want Desmond to mess with it–in order to render the smoke monster mortal? Is the baby Claire gave birth to twice also dead? And why does Jack have a son in the transitional space?)

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Crow T Robot

It was clear a few seasons back that the creative force behind this show didn’t have the invention to bring it to any meaningful conclusion. I, like most of the audience, checked out around season four when 90% of the drama was reduced to haggard characters pointing rifles at other haggard characters. The confidence of the first season was broken.

At some point the honchos decided that instead of filling the big finale with lame plot wrap ups, they would jettison all character development, expect for Jack, and craft a Giocchino-heavy opera. It was the right choice emotionally (Lost was always at its best a big old weepy) and a disaster of storytelling logic. The whole thing ended up being a nonsensical mess.

I guess they can’t all be The Sopranos.


The nods to other religions on “Lost” (such as that plate glass window) are just ecumenical window-dressing; or mis-direction. People who deny that the show is fundamentally Christian (actually Catholic) aren’t paying attention. (“Drink this. Now you are like me.” Please.)

I loved the operatic elements of the finale and prefer not to be too literal-minded about where they all ended up. If network reps are actually weighing in, now, to spell things out, I’d say that’s a mistake. The show was always vague abiout everything except the characters, which was and is fine with me.


The show was heavily influenced by eastern philosophy rather than western. I think that explains a lot of the confusion as to what the story is about.


I would say a son was “created” for Jack to help him deal with his issues with his dad. Not sure about Aaron.

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