sl-LOST.com » Charlotte

VIDEO: LOST’s Rebecca Mader on the ‘Late Late Show with Craig Ferguson’

SL-LOST — Wed, 30 Jun 2010 13:17:44 +0000

Sawyer’s Checklist

SL-LOST — Sun, 21 Mar 2010 15:01:26 +0000

Who’s next?

[Via FuckYeahLOST]

Reconvergence: A Cultural Interpretation of LOST 6.08 “Recon” by Pearson Moore

SL-LOST — Fri, 19 Mar 2010 14:44:15 +0000

“Do you want to die alone?”

Miles’ question went to the heart of tonight’s episode. The more James Ford remains unchanged, unmoving, the more the world around him whirls about, laughing at him, demonstrating time and again the inadequacy of his actions and plans. Whether wooing an archeologist with a flower, conning a woman with a too-obvious scheme, or losing a battle of wits with the Man in Black, Sawyer found himself in over his head, rendered impotent by event and circumstance.

The worlds around Sawyer are not only changing. They are converging. The challenges James has faced to this point are as molehills to the coming mountains. If he is to survive, Sawyer will have to do something he has successfully resisted his entire life: Sawyer must grow up.

Reconnecting with the Island

Miles–Detective Miles Straum–found a date for Sawyer. An interesting woman, worked with his father (Dr. Chang!) at the museum. In my mind there were only two possibilities. One of them was a woman on the run from the law, and not likely to have suddenly discovered enduring affinity for the staid and careful studies and tedious classification chores inherent in museum work. The other choice was much more likely, and more appealing: a scientist, familiar with the laboratory, well versed in the rigours of research and careful speciation and analysis. Of course! She didn’t seem suited for assignment to a museum, but perhaps this was a museum devoted to obstetrics and fertility. When I saw her long, red mane from the back I wondered why she dyed her hair–she had been gorgeous as a blonde, and Sawyer loved her as she–

And then she turned around.

Charlotte? It made no sense to me. It was supposed to be Juliet. It had to be Juliet, so that she could suggest they “go Dutch”, fulfilling the promise of her words to Sawyer on the Island in “LA X”, proving the connection between the two realities, demonstrating the instability of the separation of the two spacetimes.

Why Charlotte? She was the spice of Faraday’s life, not Sawyer’s. She was connected to Widmore, not the man Sawyer so desperately sought, Anthony Cooper. She was a dead end for Sawyer.

As the story unfolded, I began to understand the necessity of their meeting in the bar, their bedtime banter about the world’s most famous bullwhip. She said she wasn’t a museum kind of gal at all–she traveled the most exciting places in the world–dangerous, exotic places. She was Indiana Jones, no less, and she would show James Ford things he had never even dreamed of. While Sawyer stood next to her in the bar, imagining her in a fedora and nothing else, I thought about the Charlotte Staples Lewis I knew from Season Five.

Though not much older than a toddler when she left, she remembered the Island. Something in her imagination, something at the very centre of her being, was captured by the lure of the Island. She spent her adult life fantasising about returning to the enchanted jungle of her youth. She must have oriented her entire life toward the singular goal of going back to the magical place that had been her greatest happiness.

This was the portrait we were offered in Season Five. It made sense that the experiences of a girl at a moment somewhere between toddlerhood and pre-school would provide the warmest childhood memories to the motivated, restless mind of the adult Charlotte Lewis. Her obsession led her to what seemed a most unlikely profession: archeology. But she was more historian than archeologist, and her choice of vocation was not motivated by childhood dreams alone. The motivation derived of sure, indisputable knowledge she had carried with her from her youth. Someone–Widmore or someone on the Island–gave her that knowledge early in her life. “Study ancient Carthage,” that person told her. “Carthage is the key to understanding the Island you love.”

She obeyed the instructions with every graduate course she took. She didn’t so much study the assigned texts as absorb them into her psyche. Field work was what she yearned for, and she grabbed every opportunity to spend time in the desert places that would unlock the secret to her jungle paradise. Whenever there was a dig in Tunisia, she was there. It wasn’t Tunisia, of course, that interested her. It was what Tunisia had been once, two millennia ago. It was Carthage, the civilisation of Elissa, home of history’s greatest military leaders.

“I know more about ancient Carthage than Hannibal himself.” It was one of the oddest statements ever made in the six years of LOST. It seemed disconnected, unrelated to anything else transpiring on the Island. Charlotte Lewis was an expert–quite possibly the world’s leading authority–on ancient Carthage. Why? Why would a woman whose entire being had been oriented toward rediscovering the island home of her youth spend every waking moment studying, thinking, brushing the sand away from, imbibing, eating and breathing nothing but ancient Carthage?

It was the drop point. And she knew it. “You will find something interesting in Medenine, Charlotte. There’s a dig there. You’ll find the proof.” Whoever it was who told her was correct. The polar bear expired in the desert heat short kilometres from the drop point. When Charlotte found the skeleton she dropped to her knees and dug at the neck. This, too, was something she knew–that she would find the leather tag still chained around the dead animal’s neck. It was a Dharma tag. The undamaged leather tag, the fresh bones–not even twenty years old–constituted the strongest possible proof that the Island remained. The polar bear was a love letter, a “wish you were here” postcard from people still on the Island, years after Charlotte left, proclaiming to the world that the Island lived.

Charlotte is key to the whole business of the Island, not only because she made her home on the Island, not only because she loved the Island, but because she is the bridge to the Island’s distant past.

Tunisia is the drop point because Tunisia is where the Island started. Carthage was the closest neighbour of another ancient civilisation, and many Carthaginians worshipped Egyptian gods. The statue of Tawaret would not have been at all out of place in Carthage.

Charlotte’s passion is the Island. Sawyer’s passion is finding his parents’ killer. Sawyer’s challenge–one I think he will succeed in overcoming–is finding intimacy with Charlotte in spite of his selfish dismissal of her after their one-night stand. And when he does this–probably just before the wedding party (Locke and Helen’s party) where he discovers the man who killed his parents–Charlotte will confide to Sawyer her greatest passion, the lifelong obsession that has turned her into Indiana Jones.

Does she know of the Island’s submergence beneath the ocean? Does she require a con artist’s special skill in obtaining knowledge vital to the discovery of the Island? Is she the person who will create the bridge between the two spacetime realities? Charlotte Lewis will be a person of interest in coming episodes.

Reconstituting Reality

“What was that all about, then?”

“Just savin’ the world.”

Kelvin Inman didn’t believe the words he uttered in response to Desmond’s inquiry. Desmond came to share in the CIA agent’s scepticism, too, for a time. Until Locke destroyed the countdown computer, and the countdown clock turned over from 000.00 to the Egyptian hieroglyphics that mean “Underworld”.

The energy build-up accompanying the failure to enter the numbers and press the Execute key was a demonstration of the power of the Island. We have seen several such demonstrations of unusual power since the Season Two destruction of the Swan Station on Day 67. The Island heals and it destroys. It transports people and things through space and time, and it can move itself, to places far, to times long ago. It unleashes electromagnetic energy of such force as to pull airplanes from the sky. It contains within its bowels forces of such magnitude that not even the detonation of a nuclear bomb can surpass its strength.

Such abilities are not localised wonders to be exploited and directed. Such powers are not controlled. They control. They exercise their own need to integrate into things even greater than themselves.

The Island is not an entity subject to containment or detached study or exploitation for personal gain. It is the world’s umbilical cord, attaching the entire planet to the richness of forces beyond description. It is the time merchant’s scale in which good and evil, freedom and responsibility, past and future, will and humility are balanced, guarded, nurtured, and rendered into forms suitable to the human spirit and to the greater good.

The strange combination of Sawyer and Charlotte will lead us to this conclusion. I’m very much looking forward to the wedding party in Locke’s back yard in a few weeks. It should be wild beyond anyone’s imagining. People and forces converged on the Island in 2004. They are reconverging now, on-Island and off. The entire world is headed for dangerous, completely unpredictable chaos.

Reconflicted, Not Reconciled

“This is completely inappropriate.”

Claire’s attempt to kill Kate made sense. She believed Kate intentionally took Aaron away from her, and Aaron was all she had. A psychic had warned her she had to raise the baby herself. Kate was not only a kidnapper, but she had interfered with destiny itself.

Nothing else about the interaction between Claire, Kate, and Cerberus made any sense. The Man in Black’s calls for civility were issued short hours after he mercilessly slaughtered everyone remaining in the Temple. He threw Claire like a sack of potatoes and then in soft, restrained tone said, “This is completely inappropriate.”

The Smoke Monster’s camp is a warped, fractured mirror of civilisation. Cerberus has soaked in bits and pieces of humanity, insists on a deliberate adherence to gentlemanly behaviour one minute but extols the virtues of hatred the next. The MIB doesn’t have a concept of the natural boundaries of human culture. He understands an idea here, a lesson there, but he has no sense of the whole of humanity.

He separates Claire and Kate, and frizzy-haired Claire comes around later, the punished child, offering a lame apology to the woman who cared for her son. The pain in Claire’s cries is real. But the two women remain unreconciled.

The complexity of Claire’s pain defies understanding. Even before Claire attacked Kate she reached for her friend’s hand. And after the Smoke Monster lectured her, she hugged Kate and cried wretched tears on her shoulder.

What is the source of her anguish? How did Aaron become separated from her in Season Four? Why did Cerberus have to concoct the fable of Aaron’s abduction by the Others? Was he responsible for the initial kidnapping? Did Jacob play a role in Claire’s disappearance or Aaron’s separation?

Rumpelstiltskin

If we are to understand the events surrounding Claire’s separation from Aaron, we will probably need to know more about the Smoke Monster. But Cerberus has erected overt and intentional obstacles to our understanding. When Jin repeatedly asked who Claire’s “friend” was, she said quite pointedly, “My friend.” She knows the man’s name, but nothing will induce her to reveal it to anyone.

In the tradition of many cultures, knowledge of a name confers power over the object named. The person naming the object may have the power to control its essence or actions, or make it do things against its will. The person or object named is at the very least diminished in importance compared to the person invoking the name, or may come to be under the complete control of that person. For this reason, many cultural traditions prohibit the invocation of a person’s name in that person’s presence.

For instance, in the Biblical account of creation, human beings were said to be created in the divine image (Gen 1:27). That is to say, humans shared important spiritual characteristics with the Deity. The instruction manual was very short: “Be fertile and multiply; fill the earth and subdue it. Have dominion over the fish of the sea, the birds of the air, and all the living things that move on the earth.” (Gen 1:28) In the divine hierarchy of Genesis, humans stood above all other parts of creation. The fact of human beings’ power over the animals was given in Gen 2:20-21: “So the Creator formed out of the ground various wild animals and various birds of the air, and he brought them to the man to see what he would call them; whatever the man called each of them would be its name.” In the ancient Hebrew understanding, the fact that human beings named the animals was proof that we were given control over them; by invoking the animals’ names, humans established and maintained their superiority.

“Rumpelstiltskin” provides a relatively recent example of the power of invoking a person’s true name. First published by the Brothers Grimm in 1812, “Rumpelstiltskin” tells the story of a goblin who helped a beautiful young woman attract the attention of the king, extracting from her the promise to give him her first-born son. The woman became queen and when her son was born, Rumpelstiltskin came to collect his due. The queen could not refuse, but seeing the woman’s anguish, the goblin agreed to these terms: If the queen could guess Rumpelstiltskin’s true name in three days, she could keep her son. With the help of spies, the queen learned the goblin’s name, and told him. Humbled, Rumpelstiltskin had to honour the terms of the agreement, and the queen kept her son.

The Name of the Beast

The intentional withholding of the Smoke Monster’s true name must have an importance greater than the name itself. I don’t think this is a case of withholding the name only for the sake of withholding, strictly in order to build suspense. The circumstances of withholding the name seem qualitatively different from those associated with the re-naming of Locke to “Jeremy Bentham”. When we learned that “Jeremy Bentham” was John Locke, we learned that John Locke was dead. We learned nothing additional about the character, since the name “Jeremy Bentham” told us nothing new about John Locke. We can theorise endlessly about possible connections between the historical philosopher Bentham and his on-Island namesake, but these are all speculative imaginings. On the other hand, the Smoke Monster is not a name, but more or less a title. If we were to gain knowledge of the Smoke Monster’s true name, we might be able to guess some means of controlling him. For instance, if we found out the Smoke Monster was the historical Julius Caesar, we would know much of his personality, personal and professional choices, yearnings, and vanities from the historical record. Such information would be valuable in defeating him.

Addressing the Smoke Monster, or allowing the Smoke Monster to speak, may have some effect on the entity’s power. Dogen expressed the belief that Sayid could kill Smokey if he plunged a special dagger into the Monster’s chest before the Monster said anything.

My best guess is that the intentional withholding of the Smoke Monster’s true name is a security measure designed to prevent greater control over the beast.

The Nature of the Beast

Bram and his team could not harm Smokey with ordinary bullets (Lost 6.01, “LA X, Part 1″). Sayid was not able to harm the Monster, even with a special dagger (though see possible qualifications above). At times the Monster appears to be virtually invincible.

We know the Smoke Monster can be summoned, and perhaps in some ways controlled. Ben Linus summoned the Smoke Monster by loosening a plug to drain a small pool of water (Lost 4.09, “The Shape of Things to Come”). Somehow, the water, the flowing of the water, the movement of the water to another place, or some hydraulic effect of the movement (perhaps even a hydraulically controlled device to open or close portals or valves), caused the Smoke Monster to appear only minutes later.

We know of some limitations on the Smoke Monster’s power. He could not kill Jacob directly. He probably cannot kill a Candidate directly. He cannot cross a line composed of ash or a certain type of ash. He cannot traverse a plane along which a sonic field is activated, even at a vertical distance well above the effective reach of the field. We know the sonic fence around the Dharma barracks had no visible effect on humans who crossed the field above the pylons (Lost 3.12, “Par Avion”), but the Smoke Monster could not traverse the field and was unable to go over it (Lost 3.15, “Left Behind”). We have never seen the Smoke Monster more than a few metres above ground level; it is possible that the Monster must hover close to the ground. If so, this would explain the Monster’s inability to go over a sonic fence approximately four metres above ground level.

He has unusual powers. Apparently he can appropriate the likeness of those who have died. He has appeared as Alexandra Rousseau and John Locke, and may have taken on the form of Dr. Christian Shephard. He can shift into a formless cloud of black smoke, though the circumstances of the transformation are not clear, and may be subject to forces beyond whim or volition. The smoke form may become available only when the Monster is provoked, when the Island is threatened, or when Island rules determine the transformation is required or advised.

He is Cerberus, the Island’s security system. Although Jacob was called “Protector of the Island”, it is Cerberus who rushed to the scene whenever the Island was under attack. He protected the Island from Keamy’s band of mercenaries, Rousseau’s science team, and probably many other groups over the centuries.

He was granted or attained some kind of equal footing next to Jacob, perhaps being appointed co-protector of the Island. An appointment to a position of responsibility seems more likely than forcible seizure of power. The Man in Black has expressed his disdain for the Island, and has said he wishes to leave, to “go back home.” His aspirations, and possibly some of his powers, seem to have been kept in check while Jacob was alive. The white and black stones, evenly weighed on the balance pans in the cave on the cliffs, seem to have symbolised the balance of power between Jacob and the MIB.

Now that Jacob is dead, the MIB is free to pursue his dream of leaving the Island–or whatever his agenda really is.

The Monster is at least 162 years old, and probably considerably older. We saw him in adult form (Lost 5.17, “The Incident”) sometime after March 22, 1845, the day the Black Rock left Portsmouth, England (Lost 4.05, “The Constant”).

He suffers the psychological scars of his upbringing, or so he would like Kate to believe. ”My mother was crazy. Long time ago… before I… looked… like this, I had a mother, just like everyone. She was a very disturbed woman. And as a result of that, I had some growing pains. Problems that I’m still trying to work my way through. Problems that could have been avoided had things been different.” Perhaps this is the beginning of real insight into the nature of the beast. Or maybe the master manipulator is simply trying to gain Kate’s sympathy.

The Identity of the Beast

I don’t feel we have enough information to divine the true identity of the Smoke Monster. Assuming his self-revelation as son of a disturbed mother, some possibilities become obvious, and other possibilities become more distant.

Legion

“I am called Legion, for we are many.” The Gerasene Demon presented himself in the Gospel of Luke as many demons captured in a single human body. When the demons were released, they fled to a herd of pigs and charged over a cliff to their death. The Smoke Monster seems to take delight not only in killing, but in capturing. As Kate held onto the rope ladder above Claire’s prison cell in the Temple, she saw live bodies inside the black smoke rushing above her. The Smoke Monster captures entire bodies. Does he incorporate the bodies into his own being? Does he absorb the thoughts, the souls, the spirits of others? Is it even possible to say that Smokey is one person?

Locke

Only two women have been portrayed as certifiably crazy. One of these was Libby, who spent time with Hurley in the mental institution. The other candidate for crazed motherhood is Emily Locke, who at the age of fifteen gave birth to a several months premature John Locke. Almost fifty years later she hunted down her son and claimed he had no father. “You were immaculately conceived,” she said. [I groaned and then laughed when I heard this all-too-frequent confusion of Roman Catholic beliefs. What Emily meant to say was that John was the result of a virgin birth. The word "immaculate" means clean, and has nothing to do with the absence of a man. "Clean", in the context of the Immaculate Conception, refers to the spiritual state of Mary, the Mother of Jesus. Immaculate Conception is the Roman Catholic doctrine that Mary, Mother of Jesus, was born "without the stain of original sin." All human beings, according to common Christian belief, are born with a kind of spiritually-passed-down sin called original sin. Mary, who was to carry the Christ Child, had to be free of sin, and was granted the extreme grace of being born without even hereditary sin. I've absolved the writers in my mind for their ignorance, but I do wish they would make more of an effort to study religion when they wish to delve into these topics!]

Locke certainly “had some growing pains. Problems that I’m still trying to work my way through. Problems that could have been avoided had things been different.” Time has no particular significance on an Island that is freely transportable from one age to another. Could it be that Locke has always been the Smoke Monster?

Jensen’s Choice

Doc Jensen this week wrote a most entertaining analysis of “Recon”. His theory? Smokey is none other than Daniel Faraday. I won’t repeat his very detailed and eminently defensible support for the theory. I will say that his theory offers the quite attractive possibility that Charles Widmore (Faraday’s father, who even now sits on Hydra Island, plotting seizure of the Island) is in fact the true personification of evil, as I have suggested in a few of my analyses. Jensen’s theory also provides a means of tying together a number of disparate threads and may have proven more than a bit enticing to the writers. I think it would take a good deal of quite nuanced writing to make this work, though, and I have my doubts about the idea.

Hannibal

I’ve found myself attracted to this idea ever since the end of Season Five. Not only does the greatest military strategist of all time tie into Charlotte’s connection to Carthage and the Island, but there is also this gem, found on Wikipedia by LOST theorist Erowyn:

A youth of divine beauty appeared to Hannibal in the night. The youth told Hannibal he had been sent by supreme deity, Melqart, to guide the son of Hamilcar to Italy. “Follow me,” said the ghostly visitor, “and see that that thou look not behind thee.” Hannibal followed the instructions of the visitor. His curiosity, however, overcame him, and as he turned his head, Hannibal saw a serpent crashing through forest and thicket causing destruction everywhere. It moved as a black tempest with claps of thunder and flashes of lightning gathered behind the serpent. When Hannibal asked the meaning of the vision Melqart replied, “What thou beholdest is the desolation of Italy. Follow thy star and inquire no farther into the dark counsels of heaven.”

I find this connection most compelling. And even though I find no evidence that Hannibal’s mother was crazy, the firm connection between Island and Carthage provided by this historical figure constitutes yet another way to bring together many of the loose threads on our favourite television programme. Of all the Smoke Monster theories I have read, this one has most captured my attention.

The Party

Regardless of the Smoke Monster’s identity, key players will reconverge in coming weeks. I have a feeling that the humble little wedding party at Locke’s house (or at the hall rented for the occasion) will reveal the immediate future course of events. Perhaps it will become the event that triggers the final cascade toward the convergence of separate realities. I still believe, and offer as reasonably supportable speculation, that the man of honour at that party will find himself offered a one-way trip to another dimension, and that once there, he will again find he has strong legs and, this time, an even stronger will. Evil forces gather. But the forces of trust, faith, and sacrifice converge, too. It will be a fight worth engaging with every faculty of mind, body, and spirit. I’m ready.

LOST Slapdown, Part 7

SL-LOST — Thu, 18 Mar 2010 12:12:23 +0000

Rebecca Mader points out a continuity gap about her character.

Darlton Tease Next Week’s Episode, Apologise To Rebecca Mader and Announce Finalists for Finale Twist Codename

SL-LOST — Thu, 26 Mar 2009 18:18:36 +0000

In this week’s official LOST audio podcast, Damon Lindelof & Carlton Cuse prehash “Whatever Happened, Happened”, apologise to Rebeca Madder and announce their selections for the S5 finale twist codename.

[audio:http://ll.media.abc.com/podcast/audio/itunes/LOST_511_audio_podcast_c47fb4b4-2a91-41f0-8835-1fa91dd5d586_2056151.mp3]

[ Via ABC.com ]

Rebecca Mader Didn’t Change Charlotte’s Age. Darlton Apologise: “It Was Our Mistake”

SL-LOST — Tue, 24 Mar 2009 10:24:15 +0000

In last week’s official LOST Podcast, EPs Damon Lindelof and Carlton Cuse attempted to explain Charlotte’s age discrepancy (according to Ben, she was born in 1979, but we saw her alive in 1974) by claiming that Rebecca Mader asked to change her age in an earlier script.

Yesterday, Rebecca fired back on her MySpace Channel:

Pissed
I just wanted to say that I NEVER changed my age on the set of LOST as Damon and Carlton accused me of on the most recent LOST podcast.
Charlotte Lewis was ALWAYS meant to be 28 and born in 1979.
It was written in the script EP # 402 of which I have a copy and I can prove this!
They made a mistake.
They are making it MY fault.
NOT COOL.

Reached for comment by Michael Ausiello last evening, Damon and Carlton now admit that they got their facts wrong:

Rebecca is absolutely right and we apologize to both her and the entire fan community for screwing up the story. By way of explanation, here’s what happened:

There were a gazillion questions about the timeline discrepancy in that young Charlotte clearly exists in 1974, but wasn’t supposed to be born until 1979, per a single line of dialogue courtesy of Ben back in episode #402. When we inquired as to how this happened, the intel came back that we used Rebecca Mader’s birthday, July 2, 1979 because she was actually eight years YOUNGER than the character as originally conceived/scripted. We misremembered this as having come from Rebecca herself on the set, but in fact, it came several days earlier when our continuity expert Gregg Nations pointed it out and suggested using Rebecca’s actual birthday for Charlotte. And so, the mistake was OURS. Rebecca’s production draft DID have the date as being 1979.

Our first mistake was the timeline gaffe, but the much more significant one was wrapping Rebecca up in this when she had nothing to do with it. Not her fault on any level. It was our bad. One hundred percent. We will say as much in a very special “Eating Crow” edition of our Podcast tomorrow. Speaking of which, what a wonderful world we live in where we can make a comment in a Podcast that triggers a response on someone’s Facebook page and that triggers a mea culpa on someone else’s blog. Ah, technology.”

What’s your opinion about all this?

Team Darlton Teases “He’s Our You” and Beyond (New Official Podcast)

SL-LOST — Thu, 19 Mar 2009 21:23:44 +0000

In this week’s audio podcast, EPs Damon Lindelof and Carlton Cuse prehash next week’s episode, as well as drop a few hints of what’s coming up for the rest of the season:

[audio:http://ll.media.abc.com/podcast/audio/itunes/LOST_510_audio_podcast_5de8e99f-8d9b-410b-a8bb-9393a9f91e0f_2041378.mp3]

Source: ABC.com

SL-LOST Podcast – 5.05 “This Place Is Death”

SL-LOST — Mon, 16 Feb 2009 17:41:21 +0000

After a couple of busy weeks we are back with the SL-LOST podcast discussing last week’s episode: “This Place Is Death”. Enjoy!

[audio:http://blip.tv/file/get/Campetin-505ThisPlaceIsDeathThoughtsTheories564.mp3]

Click here to download this Podcast.

Subscribe on iTunes.

“This Place Is Death” – Recap & Theories By Chris Kirkman

SL-LOST — Fri, 13 Feb 2009 20:23:25 +0000

Previously, on Lost: Kate meets Jack at the docks and is surprised to find Ben there. Jack tells her Ben’s with him. That doesn’t sit too well with Kate because she knows that Ben’s the one that’s trying to take Aaron. Ben admits to it. Meanwhile, in a car not too far away, Sun is watching all this going down while petting the gun in her lap. She’s got some vengeance on her mind. Back on the island, the left-behinders continue to jump through time, and just about everyone is developing nosebleeds. Locke wants to get everyone to the Orchid so he can go off-island and bring the Oceanic Six back to stop the time flashes. Out at sea, Jin is picked up by some Frenchies in a liferaft and they turn out to be Danielle Rousseau and her crew. Jin’s a bit confused, but alive. Woot.

This week, on Lost: Sun, while waiting to attack Ben at gunpoint, gets a phone call from her daughter, Ji-Yeon. She’s a cutie pie, and Sun tells her that she met a new friend for her in America – Aaron. She hangs up, grabs her gun and proceeds to get all up in Ben’s grill. She wants Ben to pay for killing Jin, to which Ben responds by telling her that Jin is still alive.

Back on the island, Jin is, indeed, still alive and still confused, but starts getting the picture when he and Danielle chat some more. The other Frenchies have picked up the radio signal that repeats the numbers over and over and want to know if there is a radio tower on the island. They want Jin to take them, but all Jin wants to do is get back to the beach camp. He doesn’t know the way, though, so he eventually agrees to take them to the radio tower so that he can get his bearings and then head to the beach. Uh, okay, whatever. I didn’t quite understand this logic, nor do I know how Jin knows where the radio tower is since he wasn’t one of the ones to go there in “Through the Looking Glass” back in Season Three. I can only shrug.

Anyways, they don’t quite make it because Ol’ Smokey decides its about time he got in front of the camera again since we hadn’t seen him since he had to kill all those dirty mercenaries last season. First, he makes off with Nadine, who the Frenchies find after she falls out of a tree, all bloody. Jin tells them it’s a monster, and to run, but it’s too late. Cerberus gets one of the Frenchies and drags him into the jungle and to The Temple, then tries to pull him into a crack under the stone wall. The group try to pull him out, but manage to only bring half his arm back. Talk about a bad day. The guy is still alive, though – they can hear him down in the crack – and the team head down there to see if they can get him. Jin and Danielle stay behind, the sky goes all wonky, and Jin is suddenly in another time.

Just before Jin jumps, at the temple. You can see the gross, amputated arm by his feet.

In the other time, Jin is still at the temple, and we see by the barely-decomposed arm that he hasn’t jumped too far. He stops for a moment to look at the hieroglyphs at the temple (we’ll discuss those later), then heads out into the jungle. In a clearing he sees a pillar of smoke rising in the distance, and follows it to the beach, where a makeshift camp has been put together. Danielle’s music box – the one Sayid was asked to fix way back in Season One – is open and playing in the sand. Two of Rousseau’s team are dead, nearby, apparently shot in the chest. A bit down the beach, Rousseau has her husband, Robert, at gunpoint and is arguing with him, saying that he hasn’t been himself ever since they went down in the Temple after the monster. He tells her that it’s no monster, it’s a security system that guards the Temple. Yeah, yeah, we’ve heard that one before. Rousseau lowers her gun and Robert raises his and pulls the trigger. Unfortunately, he didn’t notice that Rousseau had removed the firing pin and it fails to fire. We know that she set him up because she told us about all this back in Season One and did the same thing to Sayid. Anyway, she raises her gun and blows Robert away. Seeing Jin there, she yells at him that he was “the carrier” and starts shooting at him. He makes it into the jungle just as another flash jumps him to another time.

In this other time, Jin finds himself at gunpoint once again, only this time it’s Sawyer. There’s a tearful reunion until Jin realizes that Sun isn’t with them. With some help from Charlotte, the walking translator, they explain to Jin what’s been happening and Locke explains that he’s going to bring Sun back to the island if they can just get to the Orchid. The group mounts up and heads toward the Orchid, jumping a couple of times in short succession. This is too much for Charlotte to withstand and she collapses. Speaking somewhat incoherently, it’s obvious that this might be the end for our resident hot redhead. Locke says that they need to get to the Orchid quickly and that Charlotte is only going to slow them down. Daniel stays behind with her as the others leave, but not before she tells Locke that he will find what he needs if he looks for the well. Alrighty, then, thanks Encyclopedia Brown.

Locke and the others make it to the Orchid and are thankful to find that they are in the same time period when the station existed. Just then, they jump to another time and the station is gone. Undeterred, Locke searches around the perimeter until he finds an old stone well. Being a man of action, he starts to head down the rope hanging there. Jin stops him first, making him promise that he won’t bring Sun back to the island. He gives Locke his wedding ring and tells him to give it to Sun when Locke sees her. Locke reluctantly agrees, and then shimmies down the rope. Halfway down another time jump starts up, of course, and Locke has to drop the rest of the way just in case he might be jumping to a time when the well was nothing but a bunch of rock. Good call, because that’s exactly what happens. Bad news, though, is that Locke has suffered a compound fracture to his right leg. This might be what kills him when he gets back to the real world.

Back on the surface, Sawyer is a bit confused because he’s now holding a rope that’s just sticking out of solid ground. I’m guessing this is either way before or way after the well.

Back with Daniel and Charlotte, Charlotte is fading fast. Daniel explains to her that she has to hold on because he has a plan – Desmond is going to find Daniel’s mom so that she can help them get off the island. Charlotte, though, just needs to tell Dan her story, and it turns out that it’s pretty much what we expected – she grew up on the island and left with her mother when she was a child. Her mom tried to convince her that the island was something that Charlotte had made up, but Charlotte knew that wasn’t true. She studied anthropology and made it her life mission to get back to the island. Daniel wants to know why she’s telling him all this, and Charlotte says that she remembers a crazy man from when she was a kid, and this man told her that she needed to leave the island and never come back, or she would die. She now knows that the man was Daniel. Awesome. Just awesome. Not-so-awesome, however, is that a few seconds later, beautiful Charlotte’s mind gives out and she dies in Daniel’s arms.

Alas, poor Charlotte – we barely knew ye.

Back down in the well, Locke finds that there’s someone else shuffling down there with him – Christian Shephard. Christian tells Locke that he’s a bit peeved about Ben turning The Great Wheel. He says that he told Locke to do it himself. Locke says that Ben said he know how to do it, to which Christian replies, “Since when did listening to Benjamin Linus ever turn out to be worth a damn?” Touche, you old saucehound. Christian tells Locke that, if he’s ready, his mission is to go into the other room and give the Great Wheel a little nudge because it’s jumped off its axis. Locke asks for help from Christian, but Christian can give none. I reckon he’s only corporeal enough to hold a lantern, but not quite enough to give the wheel a shove. There’s some fascinating spectral rules taken straight from Patrick Swayze in Ghost.

Locke gets to his feet and heads over to The Great Wheel. Despite his pain, he manages to shove the wheel back onto its track. As the room starts to get white, Christian tells Locke to say hi to his son. Locke asks who his son is, but it’s too late as the entire room is bathed in white light.

Back in Los Angeles, Ben takes Sun and Jack to a church where he says he can prove that Jin is alive. Outside, Ben gives Sun Jin’s wedding ring. Ben tells Sun that it was given to him by Locke. Sun wants to know why Locke didn’t give it to her himself, and Ben says that he doesn’t know. Ben tells Sun and Jack that they need to go inside because there is a woman in there that can help them get back to the island. Just then, Desmond pops up and wants to know if they’re all there to see Faraday’s mum, as well. Ben has to pick his jaw up off the ground, but he doesn’t give away his shock, otherwise. The four head inside to find Mrs. Eloise Hawking, which everyone had to see coming. Desmond is a bit shocked because the last time he saw her, she was running a jewelry shop and giving him a lesson in temporal by-laws. At any rate, she notes that there are only four of them there, which Ben explains is the best he could do at a moment’s notice. With a mischievous grin and a twinkle in her eye, Mrs. Hawking simply says that they should get this party started.

Does anyone else get a little uncomfortable when Mrs. Hawking shows up? She’s just got that look as though she could eat your liver with some fava beans and a nice Chianti.

Cue the thonk!

We got quite a few answers to some old questions and some new looks at some more of the Island’s mysteries this week. We also lost another character when Charlotte kicked the temporal bucket. So sad. Anyways, there’s no time to mourn because we’ve got an ancient temple, an old smokey adversary and some mysterious hieroglyphs to take a look at.

HERE THERE BE DRAGONS
This week, we got our first glimpse of The Temple. We first heard mention of The Temple back at the end of Season Three when Ben sent Richard there with the Others to keep them safe from the mercs that were arriving by boat. Now we can see why they were sent there – it’s one of the main locations guarded by Cerberus, aka Ol’ Smokey. Cerberus had been referred to as a security system in the past, but we got full confirmation that tied together Ol’ Smokey, the Temple and it’s guardianship in this episode when Robert told Danielle that it was a security system that guarded the Temple. There has been much speculation as to what Cerberus’s real mission is, and who created the monster. It’s pretty clear from all the clues over the past couple of seasons that Cerberus has been protecting parts of the island well before the Dharma Initiative. In “The Shape of Things to Come” Ben accesses a secret entrance in his barracks house that leads to an old stone door, covered in heiroglyphs. Once inside this door, Ben somehow calls out to Cerberus to alert it of the danger of the mercenaries outside. Cerberus comes, kicks some mercenary butt and takes off into the jungle.

The entrance to the security system control room.

The existence of this “control room” and its hieroglyphs ties Cerberus much more closely to the Others and the ancient secrets of the Island than it does with the Dharma Initiative. The DI was fully aware of Cerberus and it’s system, however, as they built the barracks on top of that control center for a reason. Every Dharma construct on the island seemed to be built on top of one of the ancient technologies, really, much like how The Orchid sat on top of the Great Wheel.

Why Cerberus is set to protect the Temple is still a mystery. We do know that Danielle’s party seemed to suffer some sort of “sickness” after they went down into the Temple. Did this really turn her lover and the others into something evil? Perhaps the sickness is another defense mechanism of the Island. Could the sickness be related to the emphatic devotion that surrounds the Others?

We do know that Cerberus doesn’t just patrol the Temple, as Ol’ Smokey has popped up in several locations around the island throughout the seasons. It tried to pull Locke down into a hole back in Season One. That hole has since been identified as a “Cerberus vent,” one of many places around the island that lead to an underground area where Cerberus can travel to and from various spots. We first got a glimpse of these vents back on the blast door map from Season Two. They are marked on the map as CV, and apparently the Temple sits on top of one.

Remember this crazy thing? I’ve spent more time going over this blast door map than any other artifact in the history of the show.

At some point, the Dharma Initiative must have been able to control Cerberus, or at least keep him at bay. This is because the Temple used to be a Dharma station, just like the Swan or any other. If Dharma had no control over Cerberus, it would never have allowed anyone near the Temple long enough to build a station. The blast door map above does make mention of something going wrong with Cerberus at some point. The Caduceus Station (The Staff – where Claire was taken by Ethan in Season One, and where Juliet took Sun for her sonogram) was noted on the blast door map to have been abandoned “due to AH/MDG incident of 1985 or possible catastrophic malfunction of Cerberus system.”

This is the map that Ben hands to Alex to show her how to get to the Temple last season before Keamy tracked them down. See? Dharma station.

WRITE LIKE AN EGYPTIAN
During our first good look at the Temple, we’re also treated to another set of hieroglyphs. They seem Egyptian (or at least a derivative – some of the bird glyphs are a bit off, but that could just be an anomaly from the hand of the engraver), just as the glyphs were on the countdown clock at the Swan, on the stone door that Ben enters in order to call Cerberus, and down in the well – or Orchid – in the chamber of the Great Wheel.

A closeup of the hieroglyphs at the Temple.

The glyphs on the countdown timer, as seen in the finale of Season Two.

Glyphs in the chamber of the Great Wheel – on the column behind Ben.

The translation of the glyphs from the countdown timer were eventually revealed by Damon Lindelof to mean “underworld.” What’s interesting to note, though, is that the vulture and the stick (the two glyphs in red) mean “evil enemy” or “dangerous trespasser.” Marvin Candle, or Edgar Halliwax, or Pierre Chang, or whatever you want to call the Asian doctor who appears in all of Dharma’s orientation videos, said in this season’s premiere that the Swan was created as a way to protect the initiative from anyone who lived there before the Initiative got there. In other words, it was supposed to protect the Initiative from the Others. Why the DI chose to put those hieroglyphs in the Swan is still a mystery, but if the countdown timer was there as a suicide switch in the case of all of Dharma dying at the hands of the Others, the translation of “evil enemy” or “dangerous trespasser” would be very appropriate.

It would also fit if the Swan was reconfigured by the Others after the Dharma Initiative was taken down by Ben. The Others could have decided to put the Swan to use in protecting the Island from intruders, but this theory is unlikely. At any rate, the Dharma Initiative seemed to not only understand the hieroglyphs, they used them as part of their system in tapping into the Island’s potential.

Lindelof has also stated what the hieroglyphs from the Great Wheel chamber mean: “resurrection.” I’m not sure what any of these individual glyphs represent, like “evil enemy” from the Hatch. What’s interesting to note, though, is that the bird, the three lines and the rectangle with a break from the wheel chamber are matched on the Temple wall, and in the same order. I can’t correlate any direct, symbolic translations for these symbols, as the bird is indeterminate and doesn’t exactly match any on Gardiner’s Sign List (a list compiled by Sir Alan Gardiner, considered to be the standard list for translating hieroglyphs). The three lines with the rectangle above them don’t match any known Egyptian hieroglyph. This makes it likely that the hieroglyphs that appear on the Island are simply a derivative that evolved from a common Egyptian base that spread and evolved to include other glyphs not in the Egyptian alphabet.

I’ll be taking a closer look at the Temple wall and indexing it with the Gardiner list this weekend to see if I can come up with a decent, or at least related, translation. If anyone figures something out beforehand, please let me know.

TIME TRAVEL LAID BARE
One of the fundamental things about “cinematic” time travel that sometimes bugs me is how people just jaunt around time with all their clothes and possessions still intact. Of course, those that choose to jaunt in devices, such as DeLoreans, etc. have a good explanation, as they were in a capsule of sorts that transported the good with them. The left-behinders in Lost, however, don’t have that going for them. They are jumping through time much like in The Terminator, which, coincidentally, is one of the only films to have time travelers come out of temporal flux in the buff.

At any rate, after a few-minute-long gripe session about such phenomena, my girlfriend Lindsay – always the practical mind – actual posited a theory that made me rethink my temporal pet peeve. She calls it the “Upside Down House” theory. When we were shopping for a house, we wondered exactly what items we would have to list as “keepers” when we put in our offer. The realtor told us that we should think of everything in the house that we were considering, then pretend to turn the house upside down. Whatever fell out wasn’t really “attached” to the house and would be something we’d probably want to list. Things like the stove, diswasher, etc. were items that were an integral part of the house and would not, theoretically, shake out when the house was overturned. Lindsay applies this same logic to the time travelers. When they are sent through time, whatever is attached to them goes with them – their clothes, shoes, weapons, etc. because they are in such close proximity. In tonight’s episode, we saw that Sawyer was still holding the rope from the well when they jumped. That really bothered me, until Lindsay shrugged and said “upside down house rules.” God help me, but it made sense.

Now all they need to do is find a copy of a future Sports Almanac and they’re all set …

LIKE A SCARY MARY POPPINS
So … Eloise Hawking is Daniel’s mum. I think just about everybody had that figured out. Well, not everybody – Ben was honestly surprised. He’s usually pretty good at knowing everything that’s going on. What’s going to be interesting to see is how Desmond is going to fit into the plan. Neither Ben nor Mrs. Hawking was probably expecting Desmond to show up, especially at the exact time they needed everyone to be back on the island.

[SPOILER]

Next week, we get to see the pendulum in action and see exactly how they plot out the Island’s reemergence from temporal flux. Exciting!

[END OF SPOILER]

That about wraps it up for this week. There’s more we could talk about, but I think I’ve hit the main points. If there’s something any of you out there would like for me to take a closer look at, let me know. And, of course, if any of you have any epiphanies in the meantime, please clue me in.

Namaste.

Visit hobotrashcan.com to see Chris’ weekly LOST drink recipe!

Q&A With Rebecca Mader

SL-LOST — Thu, 12 Feb 2009 13:11:13 +0000

Here’s a new Q&A from LA Times with Rebecca Mader. Do NOT read it unless you have watched last night’s episode!

How did the producers break it to you that Charlotte was going to die?

I’ve known since June of ’08, because that’s when we negotiate contracts between seasons. Originally when I started on the show in August 2007, I was only supposed to do eight episodes. I ended up doing 20. I was on the show a lot longer than I thought I was going to be. A lot of it has to do with the writers strike. Less episodes in Season 4 meant back stories were compromised for the new people. I think that’s why my character carried into Season 5.

And how did you take it?

I was disappointed when I found out. When I got to the end of Season 4 and found out Charlotte had been born on the island, that was huge. So when I found out I was leaving, I was disappointed. Like all things, it’s for the best.

How much did they tell you about Charlotte initially?

When I first got the job, I was told nothing about my character. She’s an anthropologist and she’s tough; she’s a female Indiana Jones. That’s what I went into the show knowing. That’s all I knew all of Season 4, until the very end, when I learned I was originally from the island. I was on a break reading my script, and I said, “Bloody hell!”

It seems like the actors spend a lot of time just walking across the island. True?

[Lots of laughter] Traipsing. It’s a lot of traipsing. You have to do it a lot of times. First you walk up the hill, then you go down the hill, then you go back up the hill. By the end of the day, you don’t want to be on the hill anymore.

So many people who “die” on the show keep showing up. What’s your sense of how likely you are to return?

I may end up coming back in Season 6. Some people say, “You’ll be back!” If I’m not, never mind. If they turn around and ask me to come back, I’d be happy to do it.

Fans spend so much time obsessing over the clues on this show. How much time do the actors who make the show spend thinking over the creation of those clues?

[Laughter] I have to be careful how I answer this. I think they’re more concerned by what’s for lunch.

Source: LA Times

“Jughead” Recap, Thoughts & Theories By Chris Kirkman

SL-LOST — Tue, 03 Feb 2009 12:52:06 +0000

Previously, on Lost: Ben spins the big wheel and wins a free trip to Tunisia, while Daniel, Juliet, Sawyer and the gang get a free trip to the Twilight Zone. Speaking of Daniel, while he’s on one of the many jumps through time, he finds Desmond in the old Hatch and tells him to find his Mum in Oxford. Back in the present – OUR current present, and the present of the Oceanic 6 that got off the island, not the other survivors left behind because it’s actually three years earlier for them, well, kinda sorta since they’re skipping around through time … oh never mind – Desmond wakes up in a sweat next to Penny and suddenly remembers Daniel visiting him in the hatch. The chase is on.

This week on Lost: The left-behinders jump once again and find themselves eyeball-deep in trouble, as usual. Daniel, Charlotte and Miles almost get blown all to hell by some Claymore anti-personnel mines along a creek bed, so, naturally I think they’ve jumped back no further than the Vietnam era. Well, wrong, they eventually find out they’re in 1954, which is verrry interesting because the M18 was in VERY limited testing production at that time and it’s unlikely that some military engineers hanging around the asshole of the Pacific are going to be carrying ANTI-PERSONNEL MINES that are rarer than a three-dollar bill. But, you know, we’re dealing with a time-traveling island and a thousand-year-old man here, so I guess we’ll just let that one go.

Claymore mine. See that text on the front, there, that says “FRONT TOWARD ENEMY”? Yeah, well, that wasn’t on the M18 available to the military in 1954. Hey, I’m just sayin’.

Ahem, anywho, they all get captured by some early Others and taken back to a military camp lead by, who else, Richard Alpert. Meanwhile, Locke, Juliet and Sawyer capture some Others of their own. They’re speaking in a secret Other language, known as Latin. Juliet speaks it. Cuz she’s an other, natch. They extract a little info. Juliet demands to see Richard, and one of the Others jumps up and snaps the other guys neck and runs off into the jungle. Well, then.

Back with Desmond and Penny, they’re in jolly old England now and, to make a long story short, Desmond goes to Oxford, gets some clues, finds the girl (Teresa) that Daniel fucked up with some time travel experiments, gets a bit fed up with it all and finally just goes and sees Charles Widmore like he should have done in the first damn place. Charles tells Desmond that Daniel’s mum is in LA – of course – and off Des goes. Oh yeah, and Desmond and Penny have a son now, named Charlie. It’s touching, really it is.

Back on the island, Daniel has convinced Richard and the others that he can help them with their little “problem” – an H bomb left on the island by the military, named Jughead. He goes off with Ellie, a spunky little blonde with a ‘tude and a rifle. He promptly tells her to bury it and her problem is solved. She queries and he tells her he knows because in 50 years the island is still there. Yup, he’s a time-traveler. Put that in your pipe and smoke it, blondie.

The neck-snapping Other has made it back to camp now and so has Locke, Juliet and Sawyer. Locke goes off into camp to confront Richard, where he promptly tells him his tale and shows him the compass given to him by Richard in the future. A whole big can of temporal worms just got opened up right there. Locke tells Richard that if he doesn’t believe him, he should come visit Locke when he’s born – two years from now. Cool. Oh, and just so you know, the guy that snapped the Other guy’s neck before running back to Richard? None other than Charles Widmore. Uh huh. Total Lost moment there. I got damn near giddy.

Before Locke can get Richard to tell him how to get off the island, there’s another flash and they’re in another time. Pretty soon, beautiful Charlotte is face down in the dirt and getting ready to dance the rumba with the Grim Reaper. Locke, meanwhile, has leaped into the body of an early-’60s lounge singer whose pantyhose is riding up something fierce and whose manager wants his cut and wants it now. Oh, boy.*

Cue the thonk!

A quintessential Lost episode, through and through, with lots of nice twists and turns and a lovely surprise at the end. My childlike, adventurous side was completely enthralled. My brain, however, was a bit more concerned with this episode’s introduction of some classic temporal paradoxes – and I’m not just talking about out-of-place Claymores.

I’M MY OWN GRANDPA
Unless you’ve never watched any sort of movie or television show that deals even remotely with time travel, or didn’t pay attention in philosophy class, you will have heard of the grandfather paradox. This paradox was popularized by sci-fi writer Rene Barjavel in the early ’40s and proposes the quandary of thought where one could travel back in time and murder their grandfather before they were born, thus ensuring their birth never happened, and therefore making it impossible to travel back in time to murder the grandfather in the first place. This is one of the most classic philosophical questions regarding the possibility of time travel, and a derivation of this paradox is in play on the island: Hedges Theory.

Hedges Theory states that time travel is impossible because if one were to have a reason to travel back in time, and one changed things to make a correction to the timeline, then there would no longer be a reason to go back in time to make the fix. Got that? In essence, any changes that may be made to the timeline in the past would affect the present time that the traveler experienced, giving them no reason, and possibly no means, to travel back in time. In some ways, this is happening with Locke and Richard in their exchanges. The more Locke shares with Richard in the past, the more it affects Locke and Richard’s timeline in the present/future. We can beat this paradox, however, with the Novikov self-consistency principle.

This principle is pretty much what Daniel was spouting off about in the season premiere. He explained to the left-behinders basically that “whatever has happened has happened, and you can’t change it.” Some call it destiny, but temporal philosophers call it sell-consistency. Here’s how Locke and Richard’s strings (if you will) are entwined in such a way to be self-consistent within their timelines:

Richard gives Locke the compass sometime in the past/present/future (or at least sometime during “The Lie.”
Locke, now back in the past before he was born, tells Richard about the compass and gives it to him. He also tells Richard that he is his leader and that he’ll be born in two years time.
Richard visits Locke when he’s five years old (we look at this more closely in my recap/analysis of “Cabin Fever” last season) and wants him to choose among six objects which of them are already his. Locke chooses the granules of sand and the compass that Locke, himself, provided for Richard in the past. Locke also claims the knife, which was not a wise choice. Richard immediately knows that Locke is either not ready or not the chosen leader, after all. He grabs the compass and leaves. Sometime in the future, after the White Event and all the jumping, Richard gives the compass to Locke (1), and the pattern starts anew.

This temporal pattern is indicative of the self-consistency principle. Locke needs a certain push at a young age to search out his purpose and eventually find the island. The push is provided by Richard Alpert, along with some items, one of which is a compass. Years later, Locke comes across the very same compass and is provided an opportunity to go back in time and share his story with Richard. Richard takes his information and the compass and sets out to see if Locke is who he says he is, and monitor Locke’s progress and possibly offer a push when needed. Thus, Locke becomes the man he needs to be to find the island and become the Other’s new leader. Self-fulfilling prophecy, if you will. Or, destiny, by another term that Locke might prefer.

That issue seems to be all wrapped up snug and cozy, doesn’t it? Well, not really. The next question that should be coming into all of your minds is where did the compass come from?. If Richard gave Locke the compass in the “future” and Locke brought it back with him to the “past” to give to Richard so that he could use it throughout Locke’s life and then give it back to Locke in the future so he could bring it back to the past … where does the compass originate? Herein lies one of the greatest paradoxes inherent in some self-consistency scenarios. One possible answer is that the compass has always existed in the same time loop. That’s a pretty deep concept to wrap your mind around, and it won’t help you sleep at night, believe me. Another answer is that this particular thread of time has been evolving with each successive loop. Wait, what do I mean by each successive loop?. Well, that’s another rabbit hole I considered jumping down this week, but it’s getting late and that’s a major box that would make Pandora jealous. So … I will save that bit of temporal philosophy for another week, after I see more of the compass’s fate.

DECEIT LIES IN WAIT WITH THE YOUNG
So … Charles Widmore was once an Other. We all might have suspected as much. It’s no wonder that he wants to get back to the island so desperately. Obviously, Widmore was ousted from Richard’s timeless bosom at one point in the past, but for what we know not. I’m guessing his mean streak of snapping necks at a moment’s notice may have had something to do with it.

As for Miss Ellie – she of the golden hair, the ‘tude and the rifle – Daniel seems to think she looks like someone, someone he knows very well. Since she seems to be about the same age as Widmore while on the island, and Daniel is roughly the same age as Penny, my best guess is that Ellie is Daniel’s mum – which is more than likely Mrs. Hawking. I’d love to hear any other theories, if you have them, as this young lady was provided with far too much screen time and armaments to just be a throwaway character.

Oh, uh … hey gurrrrl. You’re way too pretty to grow up to be so damn scary.

THE CONSTANTLY CHANGING CONSTANT
Last week I posited my theory on the island being the constant for most of the left-behinders, and the Oceanic 6 filling in the gap for all the of the survivors to act as the island’s constant in return. I still have faith in my theory, as wacky as it may seem. However, I’m starting to entertain an alternative. Certainly, it seems as though Richard has become Locke’s true constant, as Locke is not concerned with jumping about since he knows there’s one person that will always be there on the other end. There is a possibility that Richard may act as the constant for the other left-behinders, as well. The reason Charlotte is not affected by Richard is probably because of her lack of knowledge of Richard. She truly is lost amongst the rest, and her personal story and journey to the island does not intimately entwine her with the rest.

Charlotte’s only hope, it seems, is Daniel. Daniel, obviously, has the greatest grasp of the temporal shenanigans going on, and, as evidenced by his appearance down in the Swan during its Dharma heydays, has done more than his fair share of jumping about. There is a small chance that Daniel will be able to jump outside the rules, as he stated about Desmond. In doing so, Daniel could harness the jumping to appear to Charlotte in her past and her future, thus giving her a constant. Of course, Daniel could also have another plan for all this involving his mother, which we may see unfold in a bit. Then again, Charlotte may just end up like all the poor Dharma bunnies, after all. Let’s hope not. She’s pretty.

DO YOU HAVE ACCESS TO LOTS OF CONCRETE?
And, lastly, Jughead. Where have we seen lots of concrete before on the island? Particularly concrete surrounding a large electromagnetic force that could either contain a large atomic blast or use its power to force open a temporal gate that sends the energy into a loop until it dissipates? Yup. As for how it all ties into what the hell’s going on, I’ve got nothing. Just yet, mind you. Give me time.

And that about wraps it up for this week. I promised some extracurricular studies for those interested in temporal theory from other media, but I will only give you a small taste and save the rest to sprinkle out among the other weeks. For now, the footnote I left here from above “*” should provide you with a good start, or if you’re itching for some good Dr. Who action, check out “Horror of Fang Rock” (available on Amazon for $14.99) which has a lot of ghost story overtones present in Lost, or, for more of an indepth look at being a Time Lord and the inner workings of a TARDIS, try “The Invasion of Time.”

Until next time, keep thinking those crazy thoughts, and if you come up with something profound, write and tell me something good. Namaste.

* Please, for the love all that’s holy, go buy or rent some Quantum Leap DVDs. You’re gonna love ‘em.

Visit hobotrashcan.com to see Chris’ weekly LOST drink recipe!

5.03 “Jughead” – Extended Version Of Sneak Peek #1

SL-LOST — Tue, 27 Jan 2009 15:01:43 +0000

Source: Watch with Kristin

Episode 5.03 “Jughead” – Sneak Peek #1

SL-LOST — Sun, 25 Jan 2009 16:23:41 +0000

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Source: DarkUFO

Rebecca Madder Talks About Charlotte [Video]

SL-LOST — Fri, 23 Jan 2009 11:59:09 +0000

Here’s a new video interview from TV Guide where Rebecca Madder talks about Charlotte, Season 5 and her upcoming projects:

New Q&A With Damon Lindelof

SL-LOST — Tue, 20 Jan 2009 14:20:45 +0000

Thanks to Jack and Cynthia for the heads up!

In this interview with “Lost” co-creator Damon Lindelof, we look back on some of the behind-the-scenes decisions for season four, why some fans may be troubled by season five’s emphasis on time travel, and why the worst episode in “Lost” history was also the most important episode in “Lost” history (from a production standpoint, anyway).

What material did you have to leave out because of the strike that you won’t be able to get back to?

I don’t think that there’s anything that just got basically junked. There’s stuff that got truncated, so you’re getting the Cliff’s Notes version of the story. Whereas there might have been an entire episode that was Charlotte’s flashbacks if there hadn’t been a strike, now you get the story but not the flashbacks. I think the complete jettisoning of a story plan would take the whole Jenga tower down. We have to do all that stuff to get to where we’re going. Nothing was so expendable that you could just say we couldn’t get to do this. The show would suffer for it. But the Michael story, we wanted to do something that was more redemptive for him than staying with the bomb and allowing Jin to get to the deck as he was spraying liquid nitrogen onto it. But it ended up having to be that, as opposed to something that was probably more heroic, more emotional, by virtue of the fact that we had to collapse our time frame. Originally, we were going to do an hour less than we wound up doing, and we had to beg for that. We were still rolling film, like, 11 days before it was on the air. It was all we could do to cram everything in there, and you go, “What are the major story points you can play?” and you need to connect the dots. The primary story focus was on the Oceanic Six, and everyone else had to defer. We had to explain how Jin died, and so that gave us less time for Michael’s redemptive arc, and we regret that.

One of the things you and Carlton talk about a lot, and I never quite understood until we got to “There’s No Place Like Home,” is that you’re always afraid of doing these episodes where people stand around and explain stuff and you give a lot of answers at once. Those three hours answered most of the questions of that season, and while it was good, it definitely felt like, “Okay… okay… alright…” It was not as thrilling as the hours leading up to it.

Sure. For us, we always think the reason that the show is a water cooler show, or still generates the audience it does and the Internet culture that it does is the audience wants to talk about the show. If the characters are talking about the show, you basically have a scenario where they’re so interested in catching each other up that you can’t propel the story forwards. Now if they need to share info for the purposes of story, then you have to write the scene. But the season four finale was really about bringing everything together. The drama of knowing, “How are these guys going to get off the island?,” well, you’ve known that they did get off since the end of season three, so now we’re just going back and showing you things you didn’t already know about it, like that Penny picked them up. It’s a big reveal, but everything else is, “Oh, they’re in a helicopter… the helicopter’s going into the water… is Demond going to survive because he’s not one of the Oceanic Six?” So you can kind of do these things, but things like the press conference, Kate having dreams about Claire, you need to do them, but they’re more about filling in blanks than moving forward. That’s the nature of the year. You’re telling a story out of sequence, and so the finale wound up being a lot of middle.

Let’s get back to the question that I asked at the summer tour: Watching last season and seeing the Oceanic Six in the present, I start building up scenarios in my head. “Why these six? Why do they have to be so secretive?” And in the end it just turned out that those happened to be the ones who were on the helicopter, and Jack, for whatever reason, gets into his head that they need to tell this specific lie to avoid the wrath of Widmore. Did you know that was how it was going to play out going in?

We knew that the season was going to start with Locke and Jack splitting up, Locke taking a group of people with him, Jack a group with him, Jack group’s mission was to get off the island, Locke’s group mission was to stay on, and when we got to the end of the season, Jack and Locke would have one more scene. And in that scene, Locke would basically say to Jack, “We’re supposed to be here, it’s our destiny, you’ve gotta stay.” And Jack would say, “(Bleep) you, I’m leaving.” And Locke would say to Jack, “If you’re gonna leave, you have to lie.” So the idea to lie is Locke’s. That we knew with great specificity. We also knew for over a year that Locke was in the coffin and that all the actions Jack is going through in the season three finale, reading the obituary, suicide attempt, are in the wake of Locke’s death. The Jack/Locke of it all was incredibly mapped out in detail. The intricacies of the lie were, Jack is lying because Locke told him to, and there’s a part of him that realizes maybe Locke was right. He’s not consciously ready to accept that yet, so the lie’s going to be sloppy, and he’s making that up on the fly…

I pitched to the DVD team that it might be fun to have a documentary crew poke holes in how (bleepy) the lie is, on every level. You see those things about the WTC, on that trajectory. I thought it would be fun, but these guys came back with the film and I was, like, “Wow, the lie’s even worse than I thought.” It’s one of those things where you basically say, if this really happened, if these six people showed up on some island in the South Pacific and said, “Here’s what happened,” no one would ever think to question the story. If there’s any conspiracy, you have to start with the premise, “Why did they lie?”

How did you choose the Oceanic Six?

We basically looked at it as a very simple equation first, which is, “Who would want to leave the island, and who would not want to leave the island?” and that’s what the whole season’s about. Kate kind of waffles, Sawyer doesn’t want to leave the island, and leaps off the chopper when he has a chance to do so. He’s perfectly fine where he is. And clearly someone like Juliet would want to leave the island, so we had to figure out geographically, where people would want to be, and present a lifeboat situation where Billy Zane’s running around the Titanic with a gun, and it’s whoever can get on the chopper in time. Jack and Kate we had committed to, obviously, but when we talked about who the Six would be, we realized the majority of storytelling in season four would involve those people. But we were also setting things up for the ultimate endgame of the show which will hopefully reveal some more specificity about, “Why them?”

I’ve wondered about the team from the freighter, Faraday and those people. When we initially see them being put together, Naomi’s supposed to lead them, they have some specific mission that apparently requires a mercenary, a physicist, a medium and an anthropologist and a chopper pilot. Are we still going to find out what that was? Did that get left by the wayside by the events of season four?

The intent was that their mission was to find Benjamin Linus, then call the mercs and they’ll show up and remove Ben. But Faraday and Charlotte are both there for personal reasons. He’s doing time/space experiments while he’s there, Faraday has a lot of story yet to reveal. As does Charlotte, as does Miles. But the mission they’ve been tasked with to find Ben.

And this particular combination is the best Widmore could put together?

One would assume Miles was selected for his unique abilities. As to why Faraday comes, I think that the strategic thinking in sending those guys over first is, Faraday is the one who can figure how to get from the freighter to the island safely. Charlotte’s an expert in anthropology and dead languages, and Widmore thinks that skill-set would be useful for locating Ben for some reason. Hopefully, once you have all the information from season five, that will not be as much of an unanswered question, and you’ll have a little information as to why those people.

Time travel plays a big part in this season… This gets back to what I’m always asking you about: long-term planning. Obviously, some things get changed on the fly depending on what’s working and what isn’t, but did you know from the start how important time travel would be to the show, or is that something that evolved?

We were being asked, certainly as far back in season two, “Are you guys ever going to do time travel on the show?” And we responded, “Who says we haven’t already?” The time travel elements of the show have been built into the DNA of the show all along.

Obviously, the big question going into this year is this idea of, there’s only two fundamental approaches to time travel. There’s the “Back to the Future”/”Heroes” approach where you can go back and change things, that stepping on a butterfly, suddenly, there’s a different president, people have anetnna, George McFly’s a best-selling author. And the other way is, if you went back in time and tried to kill Hitler, you would fail, because Hitler wasn’t assassinated. What would happen if you were in the past and tried to change the present as you knew it, would you A)Fail, or B)Succeed, or C)Cause the thing you were trying to prevent. And that’s really interesting to us, because there’s no (do-over’s).

You’ve been covering the show since the very beginning. There’s been this very interesting thing for me, in terms of certain audience’s members to grasp the idea that they’re not watching a genre show. To them, I’m like, “What show were you watching? When the big column of smoke is in Eko’s face in season two and he stares it down and it retracts into the jungle, that’s not a genre show?” And they say, “No, it’s not.” And it makes you go, “Okay, this is how there can be both evolutionists and creationists.” You can take the same data and apply it to your own spectrum. You can go, “Oh, it’s not a genre show, because I don’t like genre shows, but I like ‘Lost.’ Therefore, ‘Lost’ is not a genre show.” That’s the logic they apply. Well, we’ve been writing a genre show from the word go. We’re sorry that it’s getting more genre.

The biggest audience that ever watched the show was the premiere of season two, where we revealed that Desmond was down in the hatch pushing the button every 108 minutes because he’s told the world will end. The show had a critical mass at that point, we’d just won the Emmy, people were talking about it, and they tuned in to see, ‘What is this thing?” And they saw that, and went, “Alright, it is exactly what I thought it was. No thank you. Not for me.”

But there’s been a steady attrition over the years, because the show demands that you watch every episode. And Lord knows, I wish there was a way we could do the show where the casual viewer could come along, but once you start writing for those people, the long-term fans will (bleeping) kill you, as well they should. We always thought it would be a cult show, and that’s the show we’ve been writing. But the fundamental strength of the characters — and our ability to say, “Nobody’s perfect, we’ve made mistakes, we’ll continue to make them” — as long as everyone’s acting in a way that makes sense, even when the story doesn’t entirely make sense, you can understand why they’re behaving the way they are. If you introduce a time travel element on the show, maybe one character will say, “I don’t want to be on the time travel show. I don’t like time travel.” That might make it more palatable to those viewers who don’t like it, either.

And the other thing is, nothing on “Lost” lasts forever. These are books in a series of six books. If season five gets a bit too far out there in terms of its genre for you, it’s just 17 hours in the grand mosaic of the show. Our hope is that, I feel like the greatest achievement that the show could have in terms of its legacy value, is that, 10 years from now, there’ll be an active debate about what were the best and worst seasons of the show, and two people will be able to say to each other, “My favorite season was this season,” and the other would say, “That’s my least favorite season! It was terrible!” And they’d still be fans of the show as a whole.

Let me put it to you this way, then: Up until the time you cut the deal to end the show (after season six), you and Carlton had to write not knowing when you could move certain stories forward. If you’d somehow known going in that it would be six years and out, what things would you have done differently in those first three years?

It’s a question that’s impossible to answer, because that wasn’t the condition of it. I think there probably would have been less internal pressure to introduce new characters into the show, but at the same time, new characters make it fresh. What would the show be without Ben and Juliet as series regulars? I think many shows that are on the air for a long time require a certain degree of cast turnover. We were certainly going to be killing people off and you then need to bring new people in.

But I think there would have been a lot more confidence in the storytelling, particularly in season’s two and three. There’s a stutter-step feel to season two and the first part of season three where you’d take two steps forward and one step back and one step forward. Even though the storytelling was emotionally-based, we’d realize that we didn’t need to do 25 episodes in a year, we only needed to do 17. For us, the big win wasn’t just setting an end date; it was also that the remaining seasons would have a reduced episodic order, so you could never get to a point where you’re like, “Wow, we really want to activate the endgame of the season, but we’re seven episodes away from that, so we need to just do a rollicking boar-hunting episode.”

That being said, some of my favorite episodes of the show are ones like Hurley in the van. Which doesn’t advance the plot in any way at all, except that they find Ben’s dad, that’s cool, but did you really need any of it?

No, but it’s a really good episode.

A good episode of “Lost” is not necessarily one that gives you major plot revelations. It’s one that works emotionally and kind of justifies its own existence. And there’s some episodes that never needed to have existed.

I think that’s what would have been different. If we’d known we could be six and out, we wouldn’t have done 25-pisode seasons, the narrative would have been a lot tighter, but I wonder if those episodes like finding the Dharma bus would have existed. So I don’t know that I would go back and change it.

Not only was it a good episode, but it sets up that wonderful moment in “Through the Looking Glass” where Hurley saves the day with the magic bus.

That’s right. That was all (Edward) Kitsis and (Adam) Horowitz (who wrote “Tricia Tanaka Is Dead”), that pitch. They were saying, “Well, Hurley finds this bus and then uses it to save them in the finale.”

What’s interesting is, it’s almost a time travel conundrum, which is, if I could go back in time and be more convincing about saying, ‘I will write this pilot, but we need to be six years and out,’ and therefore those episodes don’t get written, would I do it? The answer is no. The journey is the journey. But more importantly, if “Stranger in a Strange Land” — which, universally, is (considered) the worst episode we ever produced — had not been produced, we would not have been able to convince the network that, “This is the future of the show: how Jack got his tattoos. Everything we’ve been saying for two years about what’s to come, is now all here on the screen. You argued that an hour of Matthew Fox in emotionally-based conflicts, it doesn’t matter what the flashback story is, it’ll be fine. But now that we’re doing his ninth flashback story, you just don’t care.”

We can’t go back and apologize for the creative mistakes that we made, because we had to make them. If that episode hadn’t been made, we weren’t able to get a notes call that said, “We don’t like this episode,” and where we could then say, “We don’t like it, either, but it’s the best we can do if we’re not moving the story forward. And we’re now at a point, guys, where we can’t move the story forward.” And they asked, “Well, what would you do if we allowed you an end date?” And we said, “Give us an end date, and we’ll tell you what we’ll do.” And the conversations then reached a new pitch.

Everything has to happen the way it happened.

You brought up the introduction of Ben before, and people who are agnostic to atheistic about the idea of a master plan will say, “Well, geez, they hired (Michael) Emerson to be a day player for an episode or two, and now he’s the fulcrum of the show.” Could you clarify?

We have plans, but the big plans have trap doors. Basically, the plan on the table was Rousseau captures the leader of The Others, but doesn’t know who he is. She turns him over to Sayid, Sayid tortures him, he claims he’s a balloonist, it’s a case of mistaken identity, and it becomes a David E. Kelley story of “Will Sayid believe him or will he not?” It’ll be a three-episode arc, at the end they’ll realize he was lying all along and he’ll escape. That was the plan all along. The trap door of the plan is that, once it’s revealed that he’s an Other, he’ll admit to it and talk about the leader of The Others being a great man, in the third person. So if the actor is awesome, he’s referring to himself. But if the actor is not awesome, he’ll just be a lieutenant. He’ll go running off, or get killed, and we’ll meet the actual leader of The Others in the finale of this season when Jack and Kate and Sawyer and Hurley are double-crossed by Michael. We already had the spinal surgery story in our back pocket, and that’s where the story was going. Emerson basically, not quite guaranteed, that the story ballooned from a three-episode arc to a six-episode arc that tied into Michael’s return and the killing of Ana-Lucia.

At the beginning of the year, we have all these ideas, but we’re writing a script every eight days. I love that people think we’re smart enough — I understand why there are atheists and agnostics out there, because they believe in a subjective reality of it. They believe that JK Rowling outlined all seven Harry Potter books because she had unlimited time, nobody to answer to and an unlimited budget. She could make her characters do whatever she wants. WE can’t make our characters do whatever we want; our characters are played by actors. if we were just writing a novel, “Lost” would be uncompromised in its vision, and probably a lot worse than it’s been for being realized by a cast and crew of 500 who helped realize it in their own separate ways. The idea that Michael Emerson, the way he played Ben, is more Napoleonic — when you had thought of the leader of The Others, you thought of a big scary dude, and the fact that it’s him is fascinating. Which was our thinking when we cast him. We cast the leader of The Others, but we didn’t commit to it until Michael said, “You guys got any milk?”

Okay, lightning round. The story keeps moving forward, and therefore there are certain things you might never get back to. You don’t have to tell me what the answer is to any of these mysteries, just whether they’ll come up again

Okay

The four-toed foot?

You will see it again.

Why Libby was in the hospital with Hurley?

Hopefully, but contingent on factors beyond our control.

What happened between Alex and Rousseau during the brief period between their reunion and their deaths? Or was that another casualty of the episodes you lost to the strike?

Nope. Casualty.

Will we ever find out why Dharma (or someone else) is still making supply drops to the island?

I sure hope so.

Will the superpowers (or lack thereof) of Others like Ethan (superstrong and/or healing factor?) and Richard (immortal?) ever be clarified or explained?

Ethan works out a lot. And everyone heals fast on the island. Hasn’t Sawyer been shot like, fourteen times by now?

Source: NJ.com

Michael Emerson Spills LOST Secrets

SL-LOST — Mon, 19 Jan 2009 13:25:07 +0000

Here’s a new video interview with Michael Emerson, where he talks about the new season and answers some fans’ questions:

Source: Eonline.com

Season 5 Sneak Peek #7

SL-LOST — Sat, 17 Jan 2009 20:15:44 +0000

Here’s a new sneak peek from Movieweb.com.

TV Squad’s Review of the Season 5 Premiere

SL-LOST — Wed, 14 Jan 2009 18:15:17 +0000

Here’s another review of the Season 5 premiere from TV Squad:

As amazing as Lost is, I still hate it for one tiny reason – every time a new season begins, I get terrified that I won’t “get it.” If that happened, it would completely deflate my enjoyment of the show. While Lost has had its fair share of WTF episodes, most of them are decipherable after repeat viewings; season five’s first two installments definitely fall into that category. It’s like playing the sequel of your favorite video game – for the most part, the controls and game-play are the same, but there are enough changes that it still takes you a few hours to get a handle on it.

So get a handle on this: John Locke and Ben Linus did move the island. The big question is where… or when – and to quote Daniel Faraday from “The Shape of Things to Come” – “when is kind of a relative term.”

That query, along with about a bajillion others, takes center stage over Lost’s double-episode season five premiere. Scheduled to air next Wednesday, January 21st , starting at 9PM, “Because You Left” and “The Lie” are arguably two of the greatest episodes of Lost to date. To call them a “game changer” would be the understatement of the year.

I actually screened the two episodes over a week ago. Then I screened them again. And again. By then, just about everyone else out there had posted their early review and I decided to hold off – just to see how much others were willing to reveal. The consensus – lips are zipped and I’m following suit. So rest assured that what follows is only a teensy bit spoilery.

It’s no secret that the idea of time travel was going to play a role in Lost‘s final two seasons. It was hinted at heavily in season four and then Ben actually did it – jumping into the future after giving the ol’ “Frozen Donkey Wheel” a push. Without giving away how the plot unfolds as the season opens, suffice to say that you’re pretty much not allowed to blink your eyes because it makes your jaw drop the same way that it did when we found out that Jack and Kate’s “we have to go back” conversation was a flash-forward. It can be confusing at times, but once you grasp it, prepare to get a headache.

In the same way that the Oceanic Six were fragmented prior to getting off the island, they’re spread just as far apart back on the mainland as season five begins. However, that doesn’t last for too long as Ben (Michael Emerson is stellar in these two eps) and Jack begin what they started in last season’s finale – reassembling the gang! Meanwhile, back on the island, the remaining Losties, freighties, and Others buckle up as the island takes them on what I can only imagine is the most nauseating Tilt-A-Whirl ride ever.

The premiere heavily features Daniel, Sawyer, Sayid, Hurley, Juliet, Charlotte, and Ben and one of them ends up having a major connection to an important, yet minor, character who also makes an appearance by the end of the second hour. Fans will also be happy to hear that one other favorite makes a brief return in the most unexpected of ways.

A few other goodies…

Every other early review I’ve read mentions this, so I almost feel obligated – ladies will be pleased to know that Sawyer is shirtless. A lot.

Richard Alpert’s conversation with young John Locke (from “Cabin Fever”) and his six items finally starts to make a little bit of sense. A little.

Penny and Desmond fans will be happy.

I’m going to be cryptic with this one: apparently Ben has a soft spot for a really good porterhouse steak.

After the first two minutes of the premiere, you’re really going to want to know just what the hell else Daniel has written in that notebook of his. (This video from ComicCon relates directly to what I’m talking about. A hint? Listen to the voice behind the camera before you make any assumptions.)

That’s all I’ve got. Lost is back and it’s – wait for the cliché – better than ever! No, seriously though. It is. If I can make a suggestion, re-watch the season four finale. You’ll be much clearer in the head with some of that stuff fresh in your mind… even though you’ll forget about all of it once you see these two new episodes.

Source: TV Squad

New Season 5 Promotional Photos of Charlotte

SL-LOST — Fri, 09 Jan 2009 17:16:10 +0000

Here are some new photos of Charlotte that were not part of the Season 5 Cast Promo photos.

Rebecca Mader’s Show Reel

SL-LOST — Thu, 16 Oct 2008 17:26:53 +0000

Thanks to boobookittyface1 for this interesting video about Rebecca Mader (Charlotte on LOST).

YouTube|link

sl-LOST.com » Charlotte

VIDEO: LOST’s Rebecca Mader on the ‘Late Late Show with Craig Ferguson’

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