I've had many theories, but I think I may finally have a theory that may eventually prove to be true.
We know that the island has restorative powers. We have now also learned that the flight that crashed into the island actually crashed elsewhere and everyone was reported dead.
The Dharma initiative was established on the island to study its restorative capabilities. After the flight crash landed, the dead were brought to the island and the island brought them back to life. They were brought there as an experiment to try and see how powerful the restorative capabilities truly were...
at least that's now my current theory.
Lost Season 3
Akash wrote:I like the actress but I have a bad feeling about Juliet. She might be playing them. Another one of Ben's mindfucks?
I'm loving Juliet. I think she is actually playing both the Losties and Ben. We already know that she tried to have him die on the operating table and now we have a reason: she wants off the island just as much as anyone there. Whatever mindfuck she's putting the Losties through is a means to her own end.
Edited By flipp525 on 1176947872
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
Tonight's episode was almost completely useless. They should have just skipped to next week where it looks like Sayid actually asks Juliet come questions! What a novel idea! Who would have thought of actually asking the pertinent questions to someone from the other side, when you're tapped on an island mired in mystery and people only seem to speak in ominous aborted phrases without anyone else saying "Wait hold up, you're gonna have to explain that one."
I like the actress but I have a bad feeling about Juliet. She might be playing them. Another one of Ben's mindfucks?
I like the actress but I have a bad feeling about Juliet. She might be playing them. Another one of Ben's mindfucks?
Yeah I'm still loving Lost too! The show never fails to pull me in and to make me want for more.
And does anyone else want more of Elizabeth Mitchell? Her character is fascinating to me - the best of all the "additions" since Season 1 (other than Mr. Eko) - and the actress is lovely and charismatic.
And does anyone else want more of Elizabeth Mitchell? Her character is fascinating to me - the best of all the "additions" since Season 1 (other than Mr. Eko) - and the actress is lovely and charismatic.
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FilmFan720
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I agree...I thought it was the best episode since last season's "Dave." It returned to what makes Lost the best, focusing on interesting characters put in other-worldly situations. These people who complain about not being explained enough about the island and the lore are missing the point of the series. It is about ordinary people in extraordinary circumstances, and whether they actually control their destinies or not. The others, the button, the four-toed statue, etc. are all just red-herrings to allow us to move into a new situation to watch our favorite characters reactions.
"Go into the world and do well. But more importantly, go into the world and do good."
- Minor Myers, Jr.
- Minor Myers, Jr.
I completely disagree. I thought it was one of the best episodes since last season and certainly the best of this one. It was an experimental episode that worked, too which was kind of encouraging.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
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OscarGuy
- Site Admin
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I'm actually contemplating switching my VCR tape to record Medium. This season has been horribly irritating. I mean, I'm getting so sick of the others and their secondary island. I want to get back to all the characters I actually like (No one on that island is very compelling).
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
I agree with a lot of this commentary. This season of Lost has been a bit slow and meandering with very little focus on the ensemble as a whole (I mean, how many episodes have now been entirely devoted to the Jack/Kate/Sawyer/Others storyline?). Also, it seems like they have yet to revisit the dramatic revelation at the end of last season that Desmond's girlfriend was on the outside looking for his plane and that her father may have funded the original Dharma Initiative. Where the heck did that plot point go? I've enjoyed delving deeper into the lives of the Others, though, and Elizabeth Mitchell is endlessly compelling but I think Lost has, well, lost a little something of what set it apart in the beginning.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
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Franz Ferdinand
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The Old Wookie Prisoner Gag
by Daynah Burnett
www.popmatters.com
February 12, 2007
After six episodes of its third and least compelling season to date, Lost entered into a two-month hiatus last November. It was a risky move that pissed off fans and crippled the show’s momentum. The commencement of 16 straight weeks of new episodes—at a time not opposed to Idol—was supposed to bring new hope. On a media blitz, the creators promised a return to the old Lost, the quirky character-driven vignettes, the polar bears, and giant tree-leveling monsters.
After watching the grand return on 7 February, “Not in Portland,” I feel like I’m the one who’s been tricked by Sawyer’s Star Wars con: seems like they’d tell me anything just to get me inside the door. Oh sure, I suppose the episode delivered on a technicality: it offered backstory, but it was expository and boring. This is too bad, because the brilliance of Lost‘s backstories was never their unraveling of mystery (or when they do unravel something, as with Hurley [Jorge Garcia] in Season One’s “Numbers,” it’s incidental). Rather, it’s that they provide insight into characters, with different, past contexts allowing us to rethink their behaviors in the present. Yet, in this episode, we learned only that Other Juliet Burke (Elizabeth Mitchell) was a doctor, that she impregnated male mice with injections, and that she was recruited to become an Other via extreme tactics. We didn’t learn a single thing about her that didn’t seem directly related to the island. Sloppy, sloppy, sloppy.
Worse, her actions to this point are now monumentally confusing. Early this season, Juliet was being set up to be some kind of double-triple agent, first working for the Others while gaining Jack’s (Matthew Fox) sympathy and affection, then pleading with Jack to kill Ben (Michael Emerson) during surgery, then wanting Kate (Evangeline Lilly) and Sawyer (Josh Holloway) killed in order to save Ben. At last she killed an Other to aid Kate and Sawyer’s escape because Ben said so. Wait, what? How can we trust anything she says? More to the point, how can we possibly care?
Juliet’s switcheroo-ing aside, this season has lost track of some previously compelling thematic elements. In the past, Lost tackled faith, mortality, and revenge, using its constant-crisis premise as a means to explore the idea of “starting over,” raising complex questions about identity and nature over nurture. We’ve seen “angels” become villains (Charlie [Dominic Monaghan]), torturers turn tender (Sayid [Naveen Andrews]), and innocents die unceremoniously (Boone [Ian Somerhalder]). Their stories were riveting because they look like us, respond to situations like we might. Even Jack, so stoic, succumbed to selfishness and loss, in a moment that was more moving than when he screamed into a walkie-talkie at gunpoint, “Dammit, Kate, I said run!” Now, instead of such provocative and even meaningful moments, we’re treated to chase sequences and evil Others. I thought Lost was smarter than that.
In seasons past, I appreciated Lost‘s brief literate nods: characters with names like John Locke (Terry O’Quinn), Rousseau (Mira Furlan), and Ethan Rom (William Mapother); clues tucked away, like the polar bear portended in Walt’s (Malcolm David Kelley) comic book or Hurley’s numbers on the hatch injections. But now, we’re on obscurity overload. Juliet’s ex-husband? His name’s Edmund Burke (a Revolutionary War-era conservative, for those rusty on their American history), and we’re made sure to catch this in a nice, long take of his desk’s nameplate. The Others’ lab funding? It’s provided by Mittelos Bioscience (Anagram: Lost Time), which we see just before Other Aldo (Rob McElhenney) is caught reading A Brief History of Time in another stagy shot.
Amid all the cleverness, I rather sympathized with poor Karl (Blake Bashoff) having been taken prisoner, then all tied down A Clockwork Orange-style, his eyes forced open to watch incoherent quotes and images flash on a giant screen, and this all set to a wretched drum-and-bass soundtrack. How unnerving that must be. Oh, wait, I know exactly how he feels.
3/10
by Daynah Burnett
www.popmatters.com
February 12, 2007
After six episodes of its third and least compelling season to date, Lost entered into a two-month hiatus last November. It was a risky move that pissed off fans and crippled the show’s momentum. The commencement of 16 straight weeks of new episodes—at a time not opposed to Idol—was supposed to bring new hope. On a media blitz, the creators promised a return to the old Lost, the quirky character-driven vignettes, the polar bears, and giant tree-leveling monsters.
After watching the grand return on 7 February, “Not in Portland,” I feel like I’m the one who’s been tricked by Sawyer’s Star Wars con: seems like they’d tell me anything just to get me inside the door. Oh sure, I suppose the episode delivered on a technicality: it offered backstory, but it was expository and boring. This is too bad, because the brilliance of Lost‘s backstories was never their unraveling of mystery (or when they do unravel something, as with Hurley [Jorge Garcia] in Season One’s “Numbers,” it’s incidental). Rather, it’s that they provide insight into characters, with different, past contexts allowing us to rethink their behaviors in the present. Yet, in this episode, we learned only that Other Juliet Burke (Elizabeth Mitchell) was a doctor, that she impregnated male mice with injections, and that she was recruited to become an Other via extreme tactics. We didn’t learn a single thing about her that didn’t seem directly related to the island. Sloppy, sloppy, sloppy.
Worse, her actions to this point are now monumentally confusing. Early this season, Juliet was being set up to be some kind of double-triple agent, first working for the Others while gaining Jack’s (Matthew Fox) sympathy and affection, then pleading with Jack to kill Ben (Michael Emerson) during surgery, then wanting Kate (Evangeline Lilly) and Sawyer (Josh Holloway) killed in order to save Ben. At last she killed an Other to aid Kate and Sawyer’s escape because Ben said so. Wait, what? How can we trust anything she says? More to the point, how can we possibly care?
Juliet’s switcheroo-ing aside, this season has lost track of some previously compelling thematic elements. In the past, Lost tackled faith, mortality, and revenge, using its constant-crisis premise as a means to explore the idea of “starting over,” raising complex questions about identity and nature over nurture. We’ve seen “angels” become villains (Charlie [Dominic Monaghan]), torturers turn tender (Sayid [Naveen Andrews]), and innocents die unceremoniously (Boone [Ian Somerhalder]). Their stories were riveting because they look like us, respond to situations like we might. Even Jack, so stoic, succumbed to selfishness and loss, in a moment that was more moving than when he screamed into a walkie-talkie at gunpoint, “Dammit, Kate, I said run!” Now, instead of such provocative and even meaningful moments, we’re treated to chase sequences and evil Others. I thought Lost was smarter than that.
In seasons past, I appreciated Lost‘s brief literate nods: characters with names like John Locke (Terry O’Quinn), Rousseau (Mira Furlan), and Ethan Rom (William Mapother); clues tucked away, like the polar bear portended in Walt’s (Malcolm David Kelley) comic book or Hurley’s numbers on the hatch injections. But now, we’re on obscurity overload. Juliet’s ex-husband? His name’s Edmund Burke (a Revolutionary War-era conservative, for those rusty on their American history), and we’re made sure to catch this in a nice, long take of his desk’s nameplate. The Others’ lab funding? It’s provided by Mittelos Bioscience (Anagram: Lost Time), which we see just before Other Aldo (Rob McElhenney) is caught reading A Brief History of Time in another stagy shot.
Amid all the cleverness, I rather sympathized with poor Karl (Blake Bashoff) having been taken prisoner, then all tied down A Clockwork Orange-style, his eyes forced open to watch incoherent quotes and images flash on a giant screen, and this all set to a wretched drum-and-bass soundtrack. How unnerving that must be. Oh, wait, I know exactly how he feels.
3/10