[Via USA Today]

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“There’s No Place Like Home”

Synopsis: The face-off begins between the survivors and the mercenary team from the freighter.
Written by: Carlton Cuse & Damon Lindelof.
Directed by: Jack Bender.
Original Airdate: May 15, 2008 (Part 1) and May 29, 2008 (Parts 2 & 3).

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“The Constant”

Synopsis: Sayid and Desmond hit some turbulence on the way to the freighter, which causes Desmond to experience some unexpected side effects: his 1996 consciousness travels to 2004 and back multiple times.
Written by: Carlton Cuse & Damon Lindelof.
Directed by: Jack Bender.
Original Airdate: February 28, 2008.

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[polldaddy poll="2275472"]

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3. Interactive, Globe-Spanning LOST Timeline

Via The Washington Post:

As “Lost’s” plot skips back and forth through time and boomerangs around the globe, we capture the action in this interactive timeline — allowing you to explore the show by year, location or season. Remember, locations and dates are based on information gathered from the show and should be considered approximate (and fictional). And we know we missed a few — so please submit more!

Project Credits:Jen Chaney, Jennifer Crandell, Liz Kelly and LostPedia | Development Credits: Dan Berko, Chris Buddie, Jesse Foltz and Steven King.

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[Created by Juwayyid]

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Michael Giacchino’s soundtrack for the Fourth Season has been released today. Click on this Amazon link to buy the CD album.

The soundtrack is also available in MP3 format. Use the audio player below to listen to the track samples and to download the songs:

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Michael Giacchino’s soundtrack for the Fourth Season won’t be released until May 12 (one day before the Season 5 Finale) but you can pre-order it now on Amazon and save a few dollars.

P.S: Giacchino’s soundtrack for J.J. Abrams’ “Star Trek” film is also available for pre-ordering.

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The nominees for the 2009 Hugo Awards were announced yesterday, and LOST got nominated!

Best Dramatic Presentation, Short Form

* “The Constant” (Lost) Carlton Cuse & Damon Lindelof, writers; Jack Bender, director (Bad Robot, ABC studios)
* Doctor Horrible’s Sing-Along Blog. Joss Whedon, & Zack Whedon, & Jed Whedon & Maurissa Tancharoen , writers; Joss Whedon, director (Mutant Enemy)
* “Revelations” (Battlestar Galactica) Bradley Thompson & David Weddle, writers; Michael Rymer, director (NBC Universal)
* “Silence in the Library/Forest of the Dead” (Doctor Who) Steven Moffat, writer; Euros Lyn, director (BBC Wales)
* “Turn Left” (Doctor Who) Russell T. Davies, writer; Graeme Harper, director (BBC Wales)

The winners will be announced next August at the 67th World Science Fiction Convention, which will be hosted in Montréal, Canada.

The Hugo Awards, given annually since 1955, are science fiction’s most prestigious award. The Hugos are voted on by the thousands of members of the current Worldcon which is also responsible for administering them.

[Via TheHugoAwards.org]

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Source: ABC.com

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Below we have compiled a list of the most downloaded TV-shows, together with the viewer average for TV in the US, based on data from Nielsen. Note that the download count for each show is per episode, the most downloaded in this case. The Olympics Opening Ceremony was one of the most wanted broadcasts of the year with 4,620,000 downloads, but we decided only to include TV-series.

The data for the top 10 is collected by TorrentFreak from several sources, including reports from all the large BitTorrent trackers. The download number is the sum of all torrent downloads for the most popular episode.

Source: TorrentFreak

No related posts.

Data from Jan 01, 2008- Nov 23, 2008. Percent Increase in viewership is based on absolute difference between Live Household Ratings and Live+7.

Source: The Nielsen Company

Thanks to David for the heads up!

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Below are the most interesting excerpts from Lindelof and Cuse’s audio commentary of The Constant from the Season 4 DVD:

Carlton Cuse: This was one of the hardest story breaks on the show.  It took us about 5 weeks, normally it takes 2 weeks to break an episode.  It just was a really hard episode to figure out what was sort of above the water line.  When we think about stories we use a metaphor of an iceberg.  You have to construct the entire iceberg, but only 20% of the iceberg is ever actually seen. The same is true with a story.  You have to make a lot more of the story up and you have to make it all make sense but then you just show the part on screen that you want to show.  A lot of the challenge here was how much explanation goes on.  We didn’t want to bog things down in a lot of esoteric conversation about time travel but we wanted to find an emotional through line.  And that emotional through line became the essence of the show in “What is Desmond’s constant?”  Yes he’s time traveling, yes he’s experiencing an existence in two different consciousnesses, but the emotional constant that was taking him through it was Penny.

Damon Lindelof: When he [Minkowski] just said “I was on a ferris wheel” I cannot wait to do a scene at some point in the next two seasons where in the background we just see Minkowski riding a ferris wheel and we realize “Oh, that’s where he leapt to.”

Carlton Cuse: The one thing we insidiously avoid when it comes to time travel on Lost is what is known as paradox.  This whole notion that you show up and see your same self in another period of time.

Damon Lindelof: We’re going to come to paradox in a moment, but essentially this is our flux capacitor scene.  Desmond has just come to Faraday and here’s a key line here:

Daniel Faraday: You can’t change the future.

Damon Lindelof: There it is.  You can’t change the future.  Those are the rules on Lost which are very had to adhere to.  Because if you tell the audience that something that Desmond does in 96 can alter the present, you go back to the episode we did last year where Ms. Hawking comes to Desmond and says no matter what you do the course of time will find a way to course correct.  So you can save somebody’s life who’s supposed to die but eventually the universe will find a way to kill them anyways.

Mark Goldman (editor) : So you can change the immediate future?

Damon Lindelof: Yeah, you can change the immediate future.

Carlton Cuse: What we’re trying to illustrate here is that this process was also not a constant process.  People experience it differently.  What’s happening to Minkowski is not the same as what’s happening to Desmond and what’s happening to Desmond is not the same as what’s happening to Eloise.  The fundamental process is the same but the results vary.  Sort of like how different people can take steroids and have different results.  Different people can be exposed…

Damon Lindelof: As Carlton was basically mentioning Eloise’s consciousness was just sent an hour into the future where she already knows how to run the maze.  Desmond’s past consciousness is traveling into the future as well whereas Minkowski’s present consciousness is traveling to the past because as we will soon learn he has no future to travel to since he’s about to die on the boat.

Carlton Cuse: Now you know why it took us 5 weeks to break this story.  And the thing was we had to work out all of these permutations and we’re trying not to violate the concept of paradox.  That’s the part where we find that time travel is not engaging for the audience.  You want to see the people move back and forth between the two different time zones but the kind of encounters with themselves and alterations of the future was something we really are opposed to.  We want people to be invested in the future.  We don’t want the audience to think they’ve seen Kate and Jack have this intense conversation in a flash forward at the end of Season 3 and then discover somehow that it means nothing; that basically a new parallel future could be constructed in which that is rendered as having not ever existed.  No.  That was real.  It means something.  That can be the only inevitable course of events.

Damon Lindelof: Minkowski was absolutely essential to this story because this is another tenet of successful time travel stories and the function that essentially Q played in “All Good Things” which is there is someone who is undergoing and understands the same series of events as our protagonist.  Faraday can speculate as to what’s happening to Desmond but Minkowski actually knows what is happening to Desmond emotionally.

Carlton Cuse: We wanted Desmond at some point in this story to see himself and see what he looks like.  His consciousness you realize — this story is told from the point of view of the 1996 Desmond  — so that’s is the first time he really gets to see himself looking like Eddie Vedder [...] The hardest thing to crack on a story level is here you have a very complex time travel episode and we wanted it like everything else on the show not to be just hard core genre.  So we had to figure out a way to really have the episode have some emotional resonance.  We like to refer to both of our mothers.  This is one of those episodes where they might not really understand everything that’s going on but they were clearly set up for the big emotional payoff that’s coming up.  I think the show succeeds at its best when it does both things.  It provides fodder for the mythology fans and we can take on some cool genre things and put our own spin on them but always first and foremost look at those emotional connections which we believe is why the larger part of the audience is watching.

Damon Lindelof: What does he have to achieve in the past that’s going to help him in the present?  The idea that we came up with is he has to get Penny’s number. This very stupid idea that when a guy first meets a girl he’s just trying to get her number now suddenly the entire future of this relationship — and in fact the season finale of season 4 hinges upon Desmond’s ability to convince a 1996 Penny to give him her phone number and not change it.

Damon Lindelof: And this is a fairly intriguing little coda that we stuck on to the end of the episode that was always in the script: “If anything goes wrong Desmond Hume will be my constant.”  Obviously this is all setup for Faraday’s own story.  One would certainly ask why he didn’t remember having ever met Desmond if in fact this had occurred.

Carlton Cuse: And that is a good question.

Damon Lindelof: And that is an excellent question to be asking, and that is your first clue.

Thanks to blog.timelypersuasion.com for the transcript.

Buy Season 4 on DVD to hear the complete commentary.

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Click here to buy the Season 4 DVD set.

Click here to buy the Season 4 Blu-Ray disc.

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Thanks to Lostph for the heads up.

At its best, Lost rips your heart out while it ties your brain in a knot. This season 4 episode did both expertly. Desmond (Henry Ian Cusick) has been experiencing premonitions of the future since becoming “unstuck in time” (a la Slaughterhouse Five) earlier in the series. It turns out that he’s been time-traveling, or rather, his mind has: his consciousness is journeying between present, future and past. (It makes sense when you watch, trust me.) The unfortunate side effects of this condition are madness and death, avoidable only by focusing on a “constant”: a person or thing present in each time one’s consciousness visits. Desmond’s constant, he learns, is Penny (Sonya Walger), the girlfriend he left behind when he was stranded on Lost’s mysterious island. His journey into his own past to find her in the present is tear-jerking and mind-blowing.

Source: TIME

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The Season 4 DVDs and Blu-Ray discs ordered through sl-LOST.com are already being shipped by Amazon. If you haven’t ordered any yet, you are still in time to save quite a few bucks!

Click here to pre-order the Season 4 DVD set and save 23$.

Click here to pre-order the Season 4 Blu-Ray Disc and save 47$.

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Jin & Bernard

Jorge Garcia

Source: 4815162342.pl

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You can also watch this video on YouTube and iTunes.

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