[Via ABC.com/LOST]

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“Through The Looking Glass”

Synopsis: Events come to a head as the Others engage the survivors at the beach. Meanwhile, Jack relentlessly leads the group on toward rescue, while Charlie struggles to finish his mission at the underwater station. This episode was the first to use a flash-forward instead of a flashback.
Written by: Carlton Cuse & Damon Lindelof.
Directed by: Jack Bender.
Original Airdate: May 23, 2007.

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“The Man Behind The Curtain”

Official Synopsis: After bringing his father’s body to Ben, Locke demands to see Jacob, the leader of the Others. Meanwhile, Sawyer returns to camp with the tape recorder, causing everyone to finally confront Jack and Juliet.
Written by: Elizabeth Sarnoff & Drew Goddard.
Directed by: Bobby Roth.
Original Airdate: May 9, 2007.

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3. Sundays LOST Rewatch: “Pilot”

[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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2. RECAP OF THE FIRST THREE SEASONS, BY SKY ONE
3. William Mapother Talks about Ethan

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Source: EW.com

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In my opinion, ABC’s LOST promos tend to reveal too much information (last year, Michael Emerson said that his wife skips the previews for the next episodes) but that doesn’t mean that they aren’t as exciting as the show itself.

Here’s my list of the best LOST promos that have been aired so far. Feel free to use the comments section  below to post your personal picks!

#16: 2×07 – “The Other 48 Days” Promo

#15: 4×02 – “Confirmed Dead” Promo

#14: Season Two Finale Promo

#13: 3×06 – “I Do” Promo

#12: 4×11 – “Cabin Fever” Promo

#11: 3×13 – “The Man from Tallahassee” Promo

#10: 4×09 – “The Shape of Things to Come” Promo

#9: 3×20 – “The Man Behind the Curtain” Promo

#8: Season One Finale Promo

#7: Season Three Promo

#6: Season Two Locke Promo

#5: Season Four Promo

#4: Season Three Finale Promo

#3: Season Five Promo

#2: Season Three Finale UK Promo

#1: Season One UK Promo

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Below is a new article from IGN.com. (It contains some minor spoilers).

LOST‘s executive producer/showrunners Damon Lindelof and Carlton Cuse spoke yesterday at Creative Screenwriting’s 2008 Screenwriting Expo, for an informative and fun Q&A about their creative process on the fascinating series.

The duo talked about their history together, dating back to when Cuse hired Lindelof as a writer on Nash Bridges. Cuse recounted how he’d specifically asked to see something original Lindelof had written (as opposed to a spec script based on an existing series), and was very impressed by the 17 page sample he was given of a one-act play Lindelof wrote… only to later discover Lindelof had hastily written those pages specifically for Cuse to see.

Nash Bridges star Cheech Marin plays Hurley’s dad on Lost, and Cuse revealed another Nash alum, Patrick Fischler, will be guest starring on an episode in Season 5. Mad Men fans will recognize Fischler for his recent role as Jimmy Barrett.

After working on Kevin Williamson’s Wasteland, Nash Bridges and Tim Kring’s Crossing Jordan, Lindelof recalled a meeting where he was told he’d have, “‘a great chance for you to meet J.J. [Abrams],’ who I’d been stalking for years, since Felicity and Alias.” When Abrams made it clear he had no interest in running Lost on the heels of four years each of Felicity and Alias, and also thanks to his interest in features, Lindelof knew he, “needed someone with experience” to help him, and turned to his old boss Cuse.

Lindelof admitted he was initially intimidated by the “insane creative challenges” of Lost, recalling that while they were waiting to hear if the project would be picked up as a series, he had people at the network telling him, “Yeah, the pilot is great, but there’s no series there. How are you going to do this every week?” Lindelof joked that his reply was, “I have no f**ing idea. Please don’t pick it up!”

Lost had a very expensive pilot, costing 11.5 million dollars. Cuse and Lindelof recalled that the ABC executive who greenlit it, “knew ABC was going to fire him, so this was sort of his final f**k you to them.”

Discussing the flashbacks on the series, Cuse said it was really exciting in the first year, answering the question, “Who are these guys?”, as the flashbacks could reveal big surprises about the character and their history. However, Cuse said eventually the problem became, “There’s only so many revelatory flashbacks,” and that by the time you get to flashbacks answering, “‘Why does Jack have tattoos’ and ‘Why does Desmond call everyone brother’, it’s a fairly good illustration that these flashbacks were running out of steam”

Cuse and Lindelof expressed their thankfulness they they’ve firmly established an end date for the series, saying the challenge of the flashbacks were one illustration that, “there’s a finite amount of material” in the story of Lost.

However, Cuse noted how helpful the flashbacks were early on, bringing up the example of the episode where Sawyer is trying to kill the boar – by showing flashbacks that helped explain why Sawyer could become so obsessed with something seemingly so random, it could flesh out the character without having him stop to deliver a long monologue, which Cuse said would have consisted of, “Here’s why I need to kill that boar, because it represents X!”

Asked if they know the answers to all the questions they raise on the show right away or sometimes figure it out as they go along, the duo said it was a combination of the two. Lindelof recalled how the entire pilot was put together – including writing, casting and production – in 12 weeks, which didn’t allow much time to come up with any long-term mythology. However, once the series was given a full season order, beyond the initial 12 episode order it received, Cuse said he and Lindelof sat down and discussed, “What the overall mythological underpinnings of the show would be. We quickly landed on the ending, and then constructed this broader road map of other mythological points we’d hit on this story.”

While each season of Lost is mapped out, the duo said you have to, “let the show organically tell us what it’s going to be,” bringing up the character of Ben Linus as an example. Ben was originally only intended for a three episode arc, and Lindelof and Cuse were playing a bit of wait and see as to whether or not he would turn out to be the leader of the Others, based on how things went with the actor playing the part. But once Michael Emerson was cast, “he was so good, we ended up writing eight episodes for that guy,” in Season 2, and then made him a regular. The decision to extend the original Ben storyline, in which he was held captive within the hatch, then had an influence on other storylines – Lindelof said they’d already decided that Michael, forced to help the Others to get Walt back, would kill Ana Lucia and Libby. But by extending Emerson’s time on the show, Michael’s specific task now became to free Ben.

Lindelof said they also knew from the start that Kate had killed someone and that it was probably her father – but, “the question became ‘when do we pull the trigger on [telling that story]?” and that the key was to, “bring it to an emotional point where it’s relevant to what’s happening on the island. “

However, Lindelof and Cuse said that things had changed considerably now that they know the end of the show, with Lindelof explaining, “Certainly since we got an end date, that sort of fly by the seat of your pants story is gone now. Showing scenes [set] three years from now, you can’t change it.”

Cuse said that while they know the fans love to dissect the mythology, “We probably spend 80% on character, and 20% on mythology,” stressing that he thinks the focus on the characters, is “Why the show crossed over to not being a small genre show.” That being said, he acknowledged, “This year will probably be a little bit more science fictiony.”

Lindelof laughed that, “We sort of suckered people into this show but not presenting it as a science fiction show right out of the gate,” noting that there were elements early on that were, “like a Rorschach test”, saying that when Flight 815′s pilot is killed, someone who didn’t like sci-fi would think, “there has to be a rational explanation.” Even the reveal that Locke could walk on the island was tempered by the fact that they still hadn’t revealed why he was in the chair in the first place, leaving the opportunity that, “it could be psychosomatic.” Lindelof said Raiders of the Lost Ark was a great example of a story that has blatantly science fiction elements, noting, “Nazis melt and ghost fly out of this ark,” but that it waits a long time before presenting these elements, allowing the audience to fall in love with Indiana Jones first. Lindelof said he felt shows like Invasion probably had a harder time finding a wide audience because, “They said ‘Alien!’, right out of the gate.’”

Lindelof said that when it came to slowly building into more science fiction, “Lost has really been about the long con, because by the time we get to season 6, it’s going to be f**king crazy!”

The duo stressed that while they have introduced time travel and flash-forwards into Lost, they’ve firmly decided to never do a paradox story, with Cuse saying, “It’s not like Heroes,” where the future is always something that can be prevented or changed, but in fact on Lost, “There’s nothing you can do to stop it from happening, and the more you try to stop it, the more potential there is for you to be the cause [of that future event].”

Cuse said he felt that if the future is always alterable, the stakes are lower, and they wanted to “set the bar higher. What they saw [in the future] is what actually happens. That is going to inevitably occur.”

As for the end of the series, and whether every question will be answered, Lindelof noted, “Sometimes we’re presenting things that are not really questions for us, but they become questions for the audience, and we don’t have an intention of answering them.” He said that something like what is causing that roar in the jungle they certainly intend to answer, but, “that’s not to say there won’t be some questions left,” depending on the individual viewer and what they become fixated on.

He went on to say, “There’s a fine line between The Sopranos ending and the way we plan on ending our show. There are going to be a lot of mythological wrap ups, but our suspicion is most people really care how the characters end up – who’s going to end up with who? Who lives? Who dies? Those are the questions we’re really interested in answering.” Cuse gave an example he’s given before, The Phantom Menace‘s infamous midichlorians, of how you want to be careful of going too far explaining things that probably don’t need to be explained. The duo noted that there are certain questions specific people can get hung up on that aren’t integral to a story – two examples given were “Why are certain people born with the ability to use magic?” in Harry Potter and “Why is the wardrobe a portal to Narnia?” in The Lion, the Witch and the Wardrobe.

Acknowledging the failure of Nikki and Paulo with the audience, Cuse answered a question about the oft-confused Steve and Scott and said that not only would there not be an episode focused on them, but that there is “a very tragic event that happens this season.” Lindelof said the original plan for Nikki and Paulo was to have them be like Rose and Bernard, “and occasionally have these characters melt out of the chorus so they had a voice. We weren’t going to make them part of the grand story arc.” Cuse said that when they decided to write Nikki and Paulo out, they took plans they had for their overall back-story, and “put it into one episode. We would have played that out over a much more elaborate set of flashbacks. Instead we compressed it into one episode.”

Discussing how Mr. Eko became a much shorter-lived character than originally intended, Lindelof noted how it stemmed from actor Adewale Akinnuoye-Agbaje, who did not like living in Hawaii. Lindelof said, ” Our Mr. Eko plans very quickly derailed. Adawele’s unhappiness was almost instantaneous. On his second episode, he was expressing extreme dissatisfaction.” This led to them quickly changing Mr. Eko’s storyline to one that would only last one season. Asked what might have happened with Eko had he been the long term character he was going to be, Lindelof answered, “Originally he was going to be someone who challenged Locke for the spiritual leadership of the castaways.”

Talking about Desmond and Penny and the fact that they reunited at the end of Season 4, Cuse and Lindelof said they liked putting a big dramatic beat like that in well before the end, instead of saving it all for the final episode. Lindelof also said that having played out their separation for so long, “If we’d waited any longer to get them back together, it would have risked people going, ‘Enough already.’” That being said, going forward, “It’s a challenge, because they’re together now.” Evoking other famous TV couples like Ross and Rachel, and on the negative side, David and Maddie, Lindelof said the question becomes, “Do we still have compelling stories to tell with these characters?”

As the panel ended, moderator Jeff Goldsmith jokingly asked the duo their “Favorite scene from the Season 6 finale.” Cuse’s answer was obviously a joke, as he said his favorite scene was, “the set up for the zombie season.” Fans can speculate however on whether Lindelof was joking or giving any sort of real hint, when he said, “It involves a volcano.” Come May 2010, we’ll find out.

Article taken from IGN.com

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Video | YouTube

You can download the song from Amazon.com on this link.

iTunes: Click here to suscribe to the sl-LOST Video Podcast and start watching the show on your iPod! For more info, please visit the Podcast section.

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The 15th episode focuses on the enemies that the 815 survivors have faced since they crashed on the Island.

YouTube|link

iTunes: Click here to suscribe to the sl-LOST Video Podcast and start watching the show on your iPod!

For more info, please visit the Podcast section.

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William Mapother talked to e’Guide about his experience working on the show.

e’Guide: So far, you played the part of Ethan Rom in nine episodes and on one mobisode. How did you prepare for playing this role? Did you get enough information to play him perfectly, or was it just intuitively?

WM: I was hired the morning that “Lost” premiered in the US. My agent called to say I had been offered two episodes (in other words, I didn’t have to audition because they knew my work from the movie “In the Bedroom”). I told her I hadn’t heard of the show and she said, “It starts tonight.” (I had to cancel a trip for a reunion with old college friends, and they were really annoyed with me. Now, however, they realize that I made the right decision!) The next morning, when I flew to Honolulu, the show was already a hit. I went right from the airport to the set. They didn’t seem to know everything about Ethan yet, so I had to play him intuitively. Also, we shot many different versions of the scenes, so they had lots of choices in the editing room.

e’Guide: Your character died during season one, but we saw him in season two and three again. How was returning to the set of “Lost”? Do you have personal contact to the other actors?

WM: It was a blast to return, because the cast and crew are marvelous to work with. The producers assembled a great group of people for that show. I keep in touch with several of the actors, yes.

e’Guide: In Germany the fourth season is airing right now on Pay-TV. Do you still watch the show over there? Who’s you favorite character? What’s your own theory of the things happening on the island? And what do you think about the fourth season and the development of the show?

WM: I’m a huge fan of the show and never miss an episode. And whenever my own scenes come on, I get a bit impatient, like, “Get that damn Mapother off the screen, so I can focus on the show!”. I tend to like the characters who are a bit mysterious and unpredictable, like Locke and Ben. I have NO idea what’s happening on the island, and I love it that way. I thought the fourth season was great. The only thing missing was Ethan!

e’Guide: Ethan Rom was last seen in a mobisode, where he talked to Matthew Fox’s character Jack and mentioned that his wife died in childbirth along with the baby. Where you surprised about this new aspect of your character’s motivation? Are there any plans to make him return in season five or six? Would you like to play him again?

WM: Yes, I was like, “Whoops, I have a wife and child???” I also didn’t know that I was a surgeon, which Ben mentions in Jack. That’s part of what makes it fun acting on the show – we always have more to add in future performances.

Sources: Eguide-online and DarkUfo

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Here are some interesting thoughts about Lost’s “rebirth” from sfgate.com :

“Next week could be the culmination of one of the biggest risks a network television series has taken, creatively, in years. The two-hour finale of “Lost” essentially remakes the show, offering bold new challenges. And it’s a template that other aging series should consider. After all, who wants the same old thing week after week?

Here’s how “Lost” transformed itself from an overly complicated drama that was imploding from its own plodding mythology to a nimble and daring “new” drama: It announced its own sell-by date.

The trouble with serialized dramas – meaning shows that are not self-contained in the hour, but have a continuing, often complicated, story line – is that even when the producers and writers think they know how it all ends, they’re wrong. When “Lost” started, creator J.J. Abrams said that there was a five-year plan. It’s what networks want to hear. Yes, you know how it all ends, how the mysteries unravel and how everything will be explained to our loyal audience. It’s a good pitch, and it might even have been true at the time. But writers invent things. That’s what they do. Twists. New characters. Changing behaviors. And sometimes the narrative thread just escapes them.

What happened on “Lost” was that the series began asking three questions at a time and answering only one (if that). There was a pointlessness or randomness to the action that became frustrating.

The series, about survivors of an airliner crash who end up on a small island in the ocean, told two kinds of stories: What was happening on the island and, in flashbacks, small slices about the characters’ lives before the crash. Once the producers and ABC came to an agreement on when it would end – never easy discussions when it involves a hit show – the writers were able to imagine an endgame and work backward.

It was incredibly freeing for the writers and producers. And, for “Lost” fans, it was wonderfully innovative. That rush of creativity (and daring) was illustrated in the two-episode Season 3 finale, when Jack, one of the main characters, had a flash-forward. Now, you might not think flashing forward is a big deal. But for “Lost,” it revealed that Jack (and Kate) were found and returned safely. That’s a huge revelation to give the audience. The worry is that you lose relevance when you return to stories involving those two on the island. But that hasn’t happened.”

Click here to read the full article.

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This morning I found this article about the satellite phone of Lost:

During Thursday’s return of Lost for a fourth season, our favorite TV castaways made a call that would change their lives forever. After months stuck on an island inhabited by nefarious monsters, bossy ghosts, the Others and a couple of angry, angry polar bears, Jack Shepherd and Co. are finally getting rescued

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ABC’s Press Release:

ABC premieres a special enhanced version of the “LOST” Season Three Two-Hour Finale.

Enhanced Version Includes On-Screen Facts and Back Story.

Get ready for the Season Four premiere of “Lost” with a special presentation of the Season Three two-hour finale, “Through the Looking Glass,” enhanced with on-screen facts and back story about one of the most talked about dramas on television. Whether you already watched the amazing conclusion of “Lost” last season or this is your first time viewing it, the special enhanced “Lost” catches viewers up on the story of the Oceanic 815 survivors in a way you’ve never experienced before. Be there for the enhanced “Lost” Season Three finale, WEDNESDAY, JANUARY 30 at 9:00 p.m., ET/PT on ABC.

The enhanced version of “Lost” will include text on the lower third of the screen and will “let viewers in” on clues in the show, as well as give back story to catch new viewers up for Season Four.

Source: ABC

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Juliet: I’m fine. I’m really fine. I just, I need to clean up before everyone gets here. Thank you.

Amelia: It’s him, isn’t it?

Juliet: What? Who?

Amelia: Ben. Did you invite him today?

Juliet: Thanks for [….something unintelligible…]

Amelia: Finally told you how he felt, huh?

Juliet: He didn’t, he didn’t say anything. It’s just complicated. Okay?

Amelia: Complicated doesn’t make you cry.

Juliet: I burned my hand.

Amelia: That doesn’t make you cry either. What happened Julie?

Juliet: I think, I think we’re in big trouble.

Amelia: Are we?

Juliet: I need, if I show you something, do you promise not to tell anyone? Do you swear? Not anyone.

[Amelia nods her head. Juliet goes to a drawer and pulls out a large manila envelope from under the silverware tray. She starts to open it, and the doorbell rings.]

Source: DarkUfo

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Season 3 of Lost can summed up as having the best finale ever seen on television, after a mixed season of powerful highs but more than a few lows.

The biggest low occurred in the Fall. Although learning more about the Others was good, and enjoyable, the prison life of Jack, Kate, and Sawyer went on far too long. Back with the Losties, Eko’s death added little to the story. Juliet, however, is an important new character, and her introduction in the Season 3 premier opened several significant avenues in the story.

Nikki and Paolo in the Spring – the story of a Lostie couple we had not seen before – was an another example of a enjoyable tale that added little to the main story. But Desmond and his ability to see the future introduced one of the most riveting threads in the entire three seasons. We still do not know whether Desmond just sees the future or time travels – which would explain him on the steps of the stadium with Jack in season 2 (Desmond, getting to know Jack in the present, on the island, went back in time to the stadium after leaving the island).  Desmond’s story comes to intertwine with Charlie’s, and this provides one of most wrenching and effective parts of the finale, though I hated to see it: Charlie’s death.

At the same time, Locke again goes through a profound regenerative experience, and Mikhail (an Other) survives at least two takings of his life. Does the island have some kind of recuperative effect on some of its inhabitants (not all – recall Boone, Shannon, Libby, Ana Lucia, Eko).

And this, in turn, sets up the finale to end all finales:  Jack on the island insists on calling in the apparent rescuers, over Ben’s presumably heart-felt objection that they’ll all regret it and … we find that Jack, off the island, in a flashforward, indeed regrets leaving the island. The flashforwards raise all kinds of questions – who is in the casket, who is waiting for Kate at home or wherever, what happened to Jack and Kate …

I can’t wait until the end of January, and the beginning of at least a few answers…

We want to thank Paul Levinson again for his collaboration with SL-LOST.

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