LOST Again

Anyone who knows me personally, or has been following this blog, knows I am an überfan of LOST. I have begun re-watching the series, again. It has been a couple years since I last watched Season 1, and despite the number of times I've watched each season (at least 5 times each), I am still seeing it anew.

This time, I am noticing things about myself that I never noticed before.

What I didn't recall about the beginning was the story of the US Marshall. I mean, I knew it happened, but I attached little importance to it. Like many, I was used to violence and death in fictional media—and the character was not particularly likable.

Perhaps I was "desensitized" to the violence, a term usually used to imply that violent media makes violent life easier to stomach. I firmly believe, however, that most mature people are capable of feeling nothing about fictional violence, while maintaining a humanitarian horror for real violence.

Perhaps I am too pragmatically minded, seeing realistic on-screen gore as a quality expression of someone's artistic craft. This is closer to the truth. Without time to get acquainted with the characters, it is difficult to see them as anything but actors.

However, the US Marshall was pointedly not a likable character. No further development of him made him any more complex or likable. Therefore, I found myself siding with Sawyer—someone had to put the Marshall out of his misery. What's the big deal, why all the effort on Jack's part to keep him alive?

This time, I was intimately familiar with the characters. I cared about everyone involved (except perhaps the Marshall). I knew for instance, that Sawyer had just shot a man in cold blood not more than two days prior to shooting the Marshall. I knew that Kate had tried to save her mother from an abusive relationship. I knew that Jack had trouble letting go of his patients.

This time, I was surprised at how dark the whole tangle of events was. The deeper spiritual struggle of the characters was not apparent to me without the context of the full arc of each character, and the sadness that came with the notable deaths of Charlie, Juliet, Sun & Jin, and Jack.

To know that the tangle of characters was already deeply rooted from the very beginning is further proof of the genius of this series.

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LOST: The Unanswered Questions—Revisited

It has been a little over two weeks since the series finale of LOST—the show that redefined television for me. As I was working on my understanding of Truth in Fiction, I was pleasantly surprised by some developments in Season 3 which began to sync up with my theories. From there, the show took the reins of my imagination, drawing me into deeper analysis than I thought possible (or necessary) at the time.

Truth in Fiction demands depth of story and depth of characters. It must be able to challenge the audience through repeated tellings. It must stand up to close scrutiny. It must connect the details to significance. The show does this beautifully, and continues to do so as fans begin to re-watch the series from beginning to end in light of "The End."

To many, myself included, the ending was a bit disappointing because it did not answer many questions. However, the interesting lesson here about Truth in Fiction is that discussion and imagination are paramount to a true liberal education. If LOST had answered many of the unanswered questions, it would have—for the first time—destroyed the integrity of what it does best.

My final verdict is that any disappointment felt at the end of LOST is caused by a misunderstanding of the show's purpose. We have been trained by mainstream media to allow the programming to passively inform us. We are not used to television challenging us to answer the questions ourselves.

Therefore, I encourage you to revisit the unanswered questions post and give me your own thoughts on the questions, or ask ones I didn't cover. Let's start a dialog. That is the most important thing.

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"LOST: The End"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

The End

There is so much to say now that LOST is officially finished. In fact, I hardly know where to begin. Of course, now that the series is closed, a serious discussion of its philosophical implications can truly be undertaken. I plan to periodically post (though not yet on a set interval) observations on the series with regard to everyday life, just as I do with other media. I also plan to revisit the unanswered questions post in the near future.

For this post, however, a standard (yet solemnly respectful) treatment is in order.

THE END

Two words that are at times either a relief or a time of mourning. A time of new beginnings or a time of utter despair. As many of you know, I had the distinct privilege of watching the Finale at the State Theatre in downtown Traverse City, MI. Until then, the largest group I had ever watched the show with was 6 or 7 people. Throughout the show, the crowd cheered at the crucial appearances of various characters—especially when Frank turned out to still be alive—and tears where shed over the touching moments.

The energy of the crowd was amazing. In dispersing from the theatre, the crowd that gathered outside was very reminiscent of the characters' interactions in the church scene. It's not so much that we will never see our fellow LOST fanatics again, but it felt like it would be different. To me, it felt like graduating high school—for better or worse, you'll never have that group together again. I will see my friends again, but our respective relationships with the characters on the screen are forever frozen—never to develop further.

I wasn't chosen, I volunteered.

It had long been apparent that Jack was the logical choice to take Jacob's place—a fact that was mocked by the Man in Black. For all Jack's new post represented, the questions it answered were disappointingly few. The vague concept of "rules" given to us by the young Man in Black in "Across the Sea," stand as the only explanation for many of the loose ends and odd powers which Jacob and/or the Island has.

One thing seems to circumvent Jacob's fixed rules: that the protector of the Island must be one who does not want the position. The Island represents power. A person who desires the position is a person who will be tempted to abuse that power. Unlike the One Ring from the Lord of the Rings, the Island is not inherently evil. It is only the influence of someone like the Man in Black that can corrupt another man. In effect, it is more like "the Force" from the Star Wars universe, with its light and dark sides—a comparison the creators have made personally.

Jacob remained the protector of Island for as long as he did because he did not abuse the power, such as the Man in Black was seeking to do. Jack also sought to use the power, as Widmore had apparently intended, to kill the Man in Black—who was impervious to harm until Desmond pulled the "key." This shared intention ended poorly for all three men. Widmore did not even fulfill whatever purpose Jacob assigned him to. The Man in Black, though correct about destroying the Island, was surprised to find that he was mortal once again.

Jack was mortally wounded by the Man in Black during their brawl on the cliffs. Ultimately, he would give his life for the Island and for his friends who had yet to escape it, an action which is widely regarded in our culture to be the greatest expression of love. He saved Desmond, taking his place in the pool of light after transferring his job to Hurley—the most reluctant, but arguably best-suited candidate. (Kudos to my wife for calling that one!) Ben suggested to Hurley that he might run the Island however he wants, with the aim of helping people as his main philosophical objective.

Prior to the church scene, Hurley commends Ben for having been a great right-hand man. Ben, in turn, tells Hurley the same. This implies that their "reign" was long and successful—a fact which, in reality, would conflict with the old axiom, "Absolute power, corrupts absolutely." That being said, one could argue that one does not really have absolute power if he gives it away, which Hurley would have.

Time has no meaning in this place.

The church scene that summed up the great mystery of the flash-sideways has to be the most creative solution to the ending of a story, even if it does feel a little contrived. By explaining that the most important time in the characters' lives were the times told in the series, the writers simultaneously provided us with a cohesive, happy ending; a definitive death of the main character; and the potential continuation of the survivors. "The End" delivers us our pick of ends while allowing us room to speculate about the continued lives and eventual deaths of those whose stories would have ended in ellipses...

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The Lord of the Rings - The epic fantasy by JRR Tolkien, which defined an entire genre of books, and was masterfully reconstituted in movie form by Peter Jackson. It is an immersive tale of love and war for the fate of all mankind.
Star Wars Trilogy - The followers of an ancient order utilize a power known as "the force" to affects the ends of good or evil. Those who fight for the good side, struggle to save the galaxy from a tyrannical Empire, whose intentions are dark.

LOST: The Unanswered Questions

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

The Unanswered Questions

And now for the Questions... This is by no means a complete list, nor do I want it to be. I hope to include some of the more obscure, but significant (I think) loose ends which will hopefully be tied up in the finale. Enjoy and discuss...

What happened to Christian Shephard's body?

In the original timeline, Christian's body apparently furnishes the Man in Black with a new form ("The Last Recruit")—unless he's lying. Assuming the body was in the coffin on the plane, this loose end is easily justified by assuming it was moved by the Man in Black in order to fool Jack ("White Rabbit"). However, without the influence of the Island, we have no such justification in the flash-sideways.

Was every appearance of Christian (after his death) actually the Man in Black?

Assuming the MiB answered Jack truthfully, we know for certain that the suit-wearing Christian was him. After the Ajira crash, "Locke" appeared wearing a suit, but later changed into hiking gear. Christian seems to have done the same. Claire confirms that the Christian who talked to John Locke in the cabin ("Cabin Fever") was the MiB. However, the Christian who dismisses Michael on the freighter and especially the Christian who greets Jack at the hospital after they return from the Island violates the apparent rules about the MiB not leaving the Island. For a normal TV show, Jack could have been simply hallucinating, but for LOST that is a significant loose end.

Who were the two men in the cabin?

When Hurley falls behind the group ("The Beginning of the End"), he suddenly stumbles upon Horace's cabin, which is out of place. Peering through the window, he sees Christian seated in a chair. Suddenly, another face comes into view. If Christian is an incarnation of the MiB, was this second man supposed to be Jacob? Or is there another explanation? My first thought was it looked like Locke, who subsequently finds Hurley after the cabin disappears. However, Hurley's later question regarding where the cabin is seems to catch Locke off guard, confirming that he wasn't the other man.

What exactly happened when Ben and Locke first visited the cabin together?

Ben has not only confirmed that he was pretending about seeing Jacob in the chair ("The Man Behind the Curtain"), but also that he did not expect things to start flying around. I believe that Executive Producers Damon Lindelof and Carlton Cuse confirmed in the podcast that the man who appeared briefly in the chair was Jacob. Perhaps I'm wrong, or perhaps they renegotiated that particular element due to story changes. In any case, I re-pose the question: who was that? And why did he say "help me"?

What exactly was the purpose of the ring of ash around the cabin?

When Ben and Locke first visit the cabin, Ben steps carefully over the ash, while Locke stoops to examine it. Neither of them seem to have caused the break in the ash line found by Ilana in Season 5, even after fleeing the disturbance in the cabin. We know that the ring of ash is a barrier to the MiB, but it is unclear whether it was intended to keep him out or in the cabin. Since it seemed undisturbed, we could surmise that it was to trap in whatever caused the disturbance, but it could not have been the MiB because we had seen or heard the Smoke Monster elsewhere on the Island many times by then. Perhaps it was a safe-haven for ghosts.

How do the whispers teleport people and things?

Or are the whispers merely ghosts. It seems that the cabin was physically moved from its former location to where Hurley found it, and it seems that Harper physically appeared to Juliet ("The Other Woman")—though we don't know whether she is alive or dead. Ben warns young Rousseau to "run the other way" when she hears whispers ("Dead is Dead"), which suggests there is something to see for people other than Hurley. She was also described as "insane," so perhaps she was able to see what others could not.

What is the deal with the pallet drop?

At the end of "Lockdown," a pallet of food is discovered in the jungle. A parachute suggests that it was dropped by a plane, though no plane was sighted. Given what we know about the Island's physical properties, there might not be much explanation needed. What is more curious is why was it sent? The Dharma Initiative seems to be entirely out of commission (except for Desmond in the Swan Station), so the more interesting question is who sent it?

Who is Dave?

In the episode "Dave," the pallet of food seems to trigger a psychotic episode in Hurley who sees a bald man in a bath robe and chases him through the jungle. It turns out he's Dave, Hurley's best friend from the mental hospital—only he's apparently an imaginary friend. It is revealed that Libby was also in the mental hospital with Hurley. When she gives Desmond the sailboat ("Live Together, Die Alone") she reveals that her dead husband's name is David. Is it possible that Dave is the ghost of Libby husband? (Also, as a side note, Desmond's middle name is David and Jack's son in the flash-sideways is David).

What was Libby doing in Sydney?

In the flash-sideways, Hurley meets Libby for the first time while she is on a "field trip" with other patients from the mental hospital. Therefore, she was not on Oceanic 815 in that timeline. Since she was also in the mental hospital in the original timeline, the question is what caused her to check out and go to Sydney? Was she stalking Hurley? Or is there more to the story?

Who were the people Sayid killed?

Ben claims they were Widmore's people, who needed to be killed to protect those who remained on the Island. Since basically no more has been said on this matter since Sayid finished his task, we can likely assume that their link to Widmore is real. Whether or not killing them actually protected the Island is therefore a matter both of Widmore's and Ben's respective intentions for the Island.

Who is "R.G."?

In "The Economist," Sayid woos a woman named Elsa with the intention of getting at and killing her employer, an economist who works "in emerging markets." Since his name was on the hit list and Sayid claimed to have killed everyone on it ("He's Our You"), the economist is likely dead (at least in the original timeline). When Sayid reveals his intentions, we discover that Elsa was lying about her job. After Sayid kills her, he notices a metal bracelet on her wrist, which is the same as one Naomi is wearing on the Island. Inside is the inscription, "N, I'll always be with you. R.G." Assuming Elsa's bracelet said something similar, these two women seem to be linked to a mysterious third party.

What is the deal with Ray Shephard?

The writers of LOST are not in the habit of doing anything without double meaning or deeper significance. In "316," Jack is told that his grandfather, Ray, had again tried to escape from the retirement home were he resides. Ray claims he will one day escape, saying, "They won't ever find me, either." After a short talk, Jack finds a pair of his father's shoes the bags Ray packed—a belonging he needed as per Eloise's request. We are meant to think this is the only purpose of this scene and that his eventual escape to a place he cannot be found is merely an allusion to Jack's future. However, this seems far to elaborate a set up for merely this. I believe Ray will figure into the finale, or at least the writers were intending to use him for such a purpose. I hope they do.

What is the significance of the number 32 and its relationship the number 42?

We are all used to the number 42 as the last number in the sequence which appears throughout the show, eventually being revealed as corresponding to Jacob's candidates—the number 42 in particular referring to Sun and/or Jin. However, when Hurley and Miles take Dr. Chang to the Swan worksite, Hurley sees two men stamping the numbers into the Hatch. The one who is reading off the numbers says the last one is smudged before deciding it says "42." When Desmond fled the Hatch and Locke took over his job, the first sequence of numbers he entered ended in "32" before Jack corrected him. It is interesting to note that 32 is a reversal of "23"—Jack's number. Miles asked Ben for $3.2 million dollars, to which Ben responded, "Why not 3.3 or 3.4?" Once off the Island, Ben goes to the butcher's shop to drop off Locke's body. When he takes a number, it is "342"—"32" interrupted by "4" (Locke's number).

What caused the condition where pregnant women die on the Island?

Much of Season 3 labored over this point, though Richard pointed out to Locke that it was a lesser problem meant, by Ben, to distract his people. It is likely that somewhere between Ben's healing at the Temple and the Incident, this problem arose. It did not effect Amy Goodspeed, who gave birth to Ethan in 1977.

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"LOST: What They Died For"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

"What They Died For"

Sorry for the lateness of this post. For this penultimate episode, I wanted to switch it up a bit. Usually I attempt an analysis of implications and significance, in which I take a shot in the dark about the show's core mythology and its relevence to modern life. In this post, I'd like to bring up some unanswered questions about the series, which I think are central to the show.

But First... A Brief Analysis

I thought Jacob avoided the question when Kate asked him "what they died for"—referring mostly to Sun and Jin. He proceeded to explain to her and the other remaining candidates that he did not pull them out of a happy existence—that they were flawed, they were alone. The Kwons, at least, had each other—for better or for worse.

Perhaps they died for no other reason than to prove Jin's promise that he would never leave her again. However, it seems like they died senselessly at the hands of the Man in Black—not directly, of course, but via Sawyer, who expressed his guilt only to be reassured by Jack that he was merely a pawn. According to Jack, the Man in Black could not kill them himself directly because it was against the rules.

What power is it that protects them from harm? Ben credits the Island itself as "being done with her" when Ilana dies ("Everybody Loves Hugo"), suggesting that the Island itself was protecting her. However, Michael is dismissed by Christian before the freighter explosion kills him ("There's No Place Like Home"). Current evidence all but proves this is the Man in Black.

Both Ilana and Michael carried with them an unfinished purpose. This purpose seemed to keep them safe, but—like the amulet of protection from the Sandman series—allowed the next most convenient death sentence to be enacted once the purpose was fulfilled.

Sayid died to save those that survived, but what of Frank and Richard? What final purpose did they fulfill, or are they still alive? If Frank is truly dead, then isn't the plane rendered useless? However, it is interesting to note that Locke said he had gotten his pilot's license in the flash-sideways ("The Candidate").

It was no surprise to me that Jack accepted Jacob's position as his purpose fulfilled. As Jacob literally passes the torch, we wonder just how much changed for Jack in that instant. The survivors in Jack's camp are tasked with killing the Man in Black—something no one is certain is possible.

Through Jack, we will hopefully learn a host of secrets in the finale, like how Jacob left the Island to tell Widmore about the "error of his ways," and what "exact purpose" Widmore was to be fulfilling before Ben killed him. What exactly was the error—the mercenaries, the freighter, or the ideology that inspired the mission? Was his purpose at long last to inform the Man in Black about Desmond? Because that was the last thing he did.

And speaking of Desmond, I can think of no other solution to these questions than that he is able to cause the Oceanic passengers in the flash-sideways to travel to the original timeline—in body or consciousness. Widmore seemed surprised at Desmond's sudden cooperation ("Happily Ever After"), which suggests this was not part of the "failsafe" he had in mind.

If this failsafe had something to do with destroying the Island—like blowing the dam at the Hatch ("Live Together, Die Alone"), then how is that not a threat but an asset to the Man in Black? Perhaps he expects to be transported off the Island the same way Locke was apparently transported out of the Hatch ("Further Instructions").

To be continued...

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The Sandman - This ten-volume graphic novel epic by Neil Gaiman follows Dream—one of the Endless beings—from his capture by occultists through his history to his "end" where he is replaced by a new Dream. The Sandman is to comics what LOST is to television.

"LOST: Across the Sea"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

"Across the Sea"

There is both much to say and not much that can be said about this episode. This episode is very central to the show's core mythology as we now understand it. It is the first episode in the series not to feature new footage of any of the Oceanic survivors. And to be quite frank, it could have done without replaying the Adam and Eve sequence from Season 1 ("House of the Rising Sun").

Every question leads to another question.

We now know the root of the Island's mysterious powers, even if we are at a loss to explain its rules. The light inside the Island apparently shares a little piece of itself with every person in the world, so if it goes out, it goes out everywhere. The question is: does each "pocket" of light or energy on the Island have different powers, or had the Dharma Initiative and others just used them in different ways.

If the pockets have different powers and each person has some of the Island's light inside them, then perhaps each person has different "special" abilities. Otherwise, perhaps anyone is capable of seeing dead people or surviving extreme electromagnetism under the right conditions. It isn't clear why the young Man in Black could see the ghost of Claudia, but young Jacob could not. It is also unclear how young Jacob had been sighted by both Sawyer and Desmond approximately 2000 years after he grew into a man—and many days after his death.

Then everyone will follow your rules.

When Jacob pushes his brother into the light, it is the most significant event the series has revealed so far. The Man in Black's "fate worse than death" is to become the Smoke Monster. However, we don't really know what that entails. The light seems to have gone out after the Monster clears the cave, yet if it seems not to have gone out everywhere. If this event is connected to the statements Widmore has made about what would happen if the Man in Black got off the Island, then presumably Jacob's job went from protecting the light to keeping his brother on the Island. Effectively, he changed the rules.

Yet their common past seems to echo throughout the history of the Island. The story of a distressed or sudden birth—where the mother is insistent on the baby's name—is a theme shared by Locke, Ben, and Aaron. The theme of mothers dying violently is prevalent in the Island's history. While the Man in Black killed his foster mother, she killed Jacob's and his biological mother. Ben's mother died in child birth, and the Others under his leadership suffered a plague of pregnant women dying. It is possible that the writers intended to imply that each child is causing his mother's death, much the way that the Man in Black did.

I made it so you can't kill each other.

Currently, the conflicted relationship between Widmore and Ben is a microcosm of the one between Jacob and the Man in Black, I believe, respectively. The two mortal men seem to be locked into the same rules of engagement as the twins. The method or magic by which the woman made that rule is unknown, as is the reason it also applies to the two mortal men.

This concept has always reminded me of the Mark of Cain from the Bible, where God made it so that no one would harm him. Biblical Jacob had a similar protection from God. Though, in neither case was the protection extended to the sibling—Cain having already killed Abel, and Jacob being in hiding from Esau. It is interesting to note that the biblical archetypes (and not the roles of good and evil) are a potential role reversal. Whereas biblical Jacob was encouraged by his mother to be dishonest (he was her favorite), wrestled with an angel (Samael, an angel of death), and went to live among other people, where he built a well; LOST Jacob cannot lie, is not his "mother's" favorite, and yet lives with her in the jungle. It is the Man in Black who wrestles with demons and goes to live with other people where he builds many wells.

Jacob doesn't know how to lie.

The Man in Black's ability to be dishonest seems to be a point of pride for his mother. Even though she vehemently criticizes men and their corrupt ways, she is a murderer and a liar herself. It is the ghost of the twins' biological mother who eventually reveals the truth. Strangely, she reveals it to the young Man in Black, who was told he was special by his "mother." Perhaps being told he was special is what triggered this special ability to see the dead, or perhaps something about his corruptness allows him to see.

Yet again, the ghosts may well be manipulators controlled by a third party whose agenda has yet to be revealed.

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"LOST: The Candidate"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

"The Candidate"

What a powerful episode this was! We discover that "The Candidate" was a trick title. This episode does not reveal who the final candidate to replace Jacob is (I think it's clearly Jack), though it does eliminate three other candidates.

The title refers to Locke in the flash-sideways being a candidate for an experimental spinal surgery. This becomes the center for discussion of this episode's main theme, "letting go." Locke refuses the surgery because he cannot forgive himself for turning his father into a vegetable.

It is interesting that Jack is now the man of faith in both timelines. Each timeline invokes Locke's former belief. Jack says, "I wish you believed me," as Locke wheels away after refusing the surgery. In the Island timeline, Jack tells the Man in Black that it was John Locke who told him not to leave the Island.

They attempt to defy the Man in Black by getting on the sub without him, and inadvertently fall into his trap. In a reversal of his usual style of reactionary leadership, Jack implores Sawyer to leave the bomb alone. He reasons that the Man in Black needs them dead, but is "not allowed" to kill them himself. By messing with the bomb, Sawyer takes on the responsibility for killing them.

It was, however, Sayid's idea to pull the wires. Understanding that Sawyer's actions have placed them in jeopardy, Sayid carries the bomb as far away from them as he can. He reveals his goodness by sacrificing himself for them.

The explosion gives them an escape route, but injures Sawyer and pins Sun behind some rubble. Unwilling to let go of his wife but unable to free her, Jin drowns with Sun—their hands clasped to the end.

And at last, the story confirms that the Man in Black is the greater evil between him and Widmore. Despite his callous attitude, Widmore is attempting to protect them—a plan which only fails because Sayid apparently does not feel the pain of the sonic fence and was therefore able to shut the power down.

The quality of character demonstrated by the candidates seems to be the only thing capable of foiling the Man in Black's plans. Ultimately, the candidate who replaces Jacob will be the one who stands on principles (no pun intended) and refuses to be corrupted.

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"LOST: The Last Recruit"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

"The Last Recruit"

LOST has a history of creating titles with double meanings. Even the title of the show is a reference to both the physical sense of being lost on a "deserted" island and the metaphysical sense of being spiritually broken. However, this episode's title has a vague meaning.

Most likely it is a reference to Jack, who was left in the care of the Man in Black at the end of the episode. (You did read the disclaimer, didn't you?) The difficulty I have in being certain about this label is that the writers are normally very careful with their choice of words, using key words sparingly and with great significance.

The word "recruit" in the LOST universe refers to the DHARMA Initiative. The last recruit of the DI was Desmond, who was recruited by Kelvin Inman ("Live Together, Die Alone"). Desmond plays only a small role in "The Last Recruit" though we do see his boat once again—the boat we learned that Inman was prepared to leave the Island on just before the crash of Oceanic 815.

Far-reaching connections aside, there is one reference to the Man in Black "recruiting" people ("The Substitute"), when Ilana explains his motives for kidnapping Richard. In that episode, he fails to recruit Richard, but has a talk with James who goes along with him. James claims he isn't with anybody ("Recon"), having made a deal with Widmore and reporting Widmore's secrets to the Man in Black.

You're With Me Now.

The other bit of ambiguity in this episode is the rules surrounding the Man in Black's abilities. When questioned by Jack, he claims to have impersonated Christian Shephard. However, there are two problems with this according to my understanding of the Man in Black. First, Christian appeared to Jack off-Island in St. Sebastien's Hospital ("Something Nice Back Home"). Second, he appeared to Michael on the freighter ("There's No Place Like Home"). These references run contrary to the idea that the Man in Black cannot leave the Island, or even cross the water (at least in Smoke Monster form).

Following what must have been a long night of "catching up," Claire tells Jack that he's with the Man in Black now. When Jack says he hasn't decided, Claire responds that "you let him talk to you." This has been said of the Man in Black before, when Dogen tells Sayid to kill him ("Sundown"). It was also how the Man in Black warned Richard about Jacob ("Ab Aeterno"). Both men fell under the influence of the one they were warned against. I'm not sure what the significance is.

Nevertheless, despite going along with James' plan to "ditch Locke," Jack's intuition tells him to abandon the boat and return to the main Island. There he meets "Locke" and his band of recruits. After Widmore's bomb apparently kills off the red shirts, "Locke" carries Jack into the jungle and tells him, "You're with me now," a statement that leaves us wondering if Jack is about to be "claimed" like Sayid.

The Deal's Off.

Everyone on the boat, accept Frank Lapidus, let the Man in Black talk to them. I'm not sure if Claire was referring to chit-chat or a specific sit-down talk, but I thought that was worth pointing out. Especially seeing as all of the people who made it to Hydra Island are going to be killed—at least that's what it looks like. The deal that James thought he made might never have really been "on" in the first place, but if it was, it may also have been terminated given that Widmore would have known via Zoe that Sayid kidnapped Desmond—and Sayid would not have been sent if James had not shared information.

I'm putting my money on the assertion that the Man in Black is NOT the good guy, despite tantalizing nuggets that make him seem like he could be—like leading Jack to water. However, I'm less certain about Charles Widmore. To me, the archetype of the evil capitalist who wants to "exploit" the Island is both too overplayed and too overly simplistic for LOST. Besides we already have an unscrupulous industrialist in Mr. Paik.

Widmore knows far more about the Island and the cosmic game between Jacob and the Man in Black than perhaps anyone else. Though, if that were true, wouldn't he know better than to try to kill him with artillery? Certainly this was largely effective in killing off the Man in Black's men, but why exactly does Widmore want them dead?

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"LOST: Everybody Loves Hugo"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

"Everybody Loves Hugo"

The title of this episode is an adorable twist on Season 2's "Everybody Hates Hugo," in which Hurley's lotto winnings start to turn his life for the worse. This is a parallel with his concerns over a job Jack gives him to ration the food found in the Hatch. He's afraid to fulfill this leadership role because he thinks people will hate him out of jealousy, as they did with the lotto winnings. He initially decides to use dynamite to blow up the food storage, rather than face the task—though when Rose stops him, Hurley makes a judgement call about what's fair. Interesting, given that he actually blows up the Black Rock in this episode, and no one stops him.

The Island has it in for you.

LOST returns to its convention of the Island as a character. For those unfamiliar with the concept, a location can sometimes be counted as a character when it has a notable impact on the story. No location in any story that I know of has had more interaction with people than the Island. Since "Meet Kevin Johnson," however, so much has happened between the human characters that the influence and decisions of the Island have been disguised, or perhaps entirely absent.

The idea of a person's purpose allowing him to defy almost certain death was vividly displayed for us by Jack in "Dr. Linus" when he sits down with Richard over a lit stick of dynamite. The understanding we thought we had was undermined in this episode when Ilana drops a bag of dynamite and dies suddenly. She was in the middle of explaining that her purpose was to protect them.

Ben points out that the Island was done with her, and wonders what will happen to them when their time comes. This raises the question of whether, like Michael, they are all doomed to die, having escaped death when the plane crashed. Eloise Hawking's explanation in "Flashes Before Your Eyes" that the universe "course corrects" may well mean that the Island has the power to interrupt a person's fate, but not change it.

It is equally plausible that the Island is a force of evil, and does have it in for them, as the Man in Black suggests to Desmond. Is seems this is meant to be ominous, given the fact that "Locke" eventually asks him why he is not afraid. If the Island is the gate to hell, as Jacob says, then perhaps the Man in Black is acting as its agent when he throws Desmond into the well.

Dead men tell true tales.

The nature of the ghosts in this story has been—and still remains—largely shrouded in mystery. Michael appears to Hurley at the gravesite to tell him not to blow up the plane. This does parallel the scene where Rose tells him somebody could get hurt if he blows up the food storage. However reasonable Rose's comment was, Michael's seems overly dramatic, if not unfounded—especially after we learn that Ilana's plan is merely to destroy the controls.

After Hurley blows up the Black Rock, he says that Michael told him to do it, and that ghosts are more reliable than live people. Even, apparently, murderers. When we learn that the whispers are the ghosts that cannot move on, it sheds some light on the effectiveness of ghost instruction. It is still unclear if the ghosts Hurley can see are the same as the dead people that show up in dreams, but if they are then they can be assumed to be on Jacob's side.

Which brings me to another point: Richard reminds us that Jacob never tells them what to do. However, Jacob has been instructing Hurley. Unless it's not Jacob.

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"LOST: Happily Ever After"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

"Happily Ever After"

"You think you're happy. You think you've got it all--this, your life. But, you don't." -Charlie Pace

This episode is an analogy of contemporary culture. People are content, but not necessarily happy. They have material trappings, but lack connected relationships—and connections have defined this show. Contentment is the enemy in this episode. The characters in the flash-sideways have everything they could want—except their spirits.

The scene with Desmond and Charlie in the bar is as profound as the scene between Jacob and Ricardo on the beach in "Ab Aeterno." After having disregarded traffic as if it were not real, and ignoring Desmond's material temptations, Charlie explains that he saw of vision of something "real." He saw a woman, whose description matches Claire, and felt a sort of profound love. This vision stirred his soul and led him believe that the world was not real.

Upon hearing Drive Shaft's famous single, he sarcastically comments that that was the beginning of everything great. I got the distinct impression that things did go well for the band (they seem to still be together), but that Charlie somehow had a growing sense that it was too good to be true. This may be why he was taking drugs in the first place. It took a near-death experience to reveal the truth—Charlie's necessary fall from grace.

Charlie forces Desmond to have a vision of his own, not so much through a near-death experience as through a total diversion from the social norm. The car crashing into the water symbolically invokes the wilds, as it is both uncertain and unsafe. It is fitting then that Desmond should see a vision of the other timeline, where Charlie's hand bears the message "not Penny's boat."

Because of his vision, Desmond fails his mission of reining in the self-destructive rock star, and must explain himself to Mrs. Widmore. Despite her apparent reputation, she accepts Desmond's apology graciously. It is only when he shows interest in the name "Penny Milton" that she turns hostile, revealing a larger scheme.

She speaks in the age-old voice of an aristocrat who believes it's her duty to protect and satiate the ignorant masses. She is obviously annoyed that he is no longer content with having the thing he wanted most—Charles Widmore's approval. She tells him he is not ready and should stop looking.

Having hit a dead end, Desmond leaves only to be confronted by Daniel Widmore. He tells Desmond a story about love at first sight that echoes his own experiences and those described by Charlie. He reaffirms Charlie's suspicions that there is another world, because his vision enabled him (a classical musician) to draw a complex physics diagram—the one that described the incident.

After meeting Penny (with Daniel's help), Desmond is set on a path, which we can suspect might unite the two timelines. The choice that stands before each of them is to play the game of mediocrity or seek to change the game.

It may well be that they were meant for a harder, but more significant, life.

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"LOST: The Package"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.


"The Package"

I must apologize for the belatedness of this post. In following several threads of thought, I got good and lost in myth and legend. Following the powerful and neatly packaged (pun totally intended), "Ab Aeterno," which buttoned up the series nicely for those who relate to the Judeo-Christian and Islamic canons, it seems that the writers thought it prudent to mix it up a bit. I can only assume that the clarity of Richard's story was necessary to carry us through the complex story which will unfold over the remainder of the series.

The War

When "Locke" is talking to Charles Widmore on Hydra Island, he tells him, "A wise man once said that war is coming to this island, I think it just got here." This is a very ironic statement, given that it was Widmore who said it to John Locke in "The Life and Death of Jeremy Bentham." Widmore's exact words as quoted in Lostpedia are: "Because there's a war coming, John. And if you're not back on the Island when that happens, the wrong side is going to win." If we are safe in assuming at this point that Widmore and his people are at war with the Man in Black and his people, then two questions arise. First, which side is the right side? Second, why did Locke need to be "back on the Island"? If we assume that Widmore is fighting for Jacob, but Locke's purpose was only to aid the Man in Black's murder plot, then we have to assume the Man in Black intervened somehow.

It seems to me that what the Man in Black "had to go through" ("The Incident") to kill Jacob largely included manipulating Ben Linus both on Island and off. Specifically, he made two plays that Widmore did not intend—both of which involved Ben. Although Widmore knew that Locke was told he would have to die before returning to the Island, he dismissed the knowledge, sending John along with Abaddon. The two plays the Man in Black made (via Ben) were that Ben killed Abaddon (which then allowed him to kill Locke), then "Locke" had Ben kill Jacob. In fact, Ben seems now to have been a pawn of the Man in Black since he saw his mother in the jungle ("The Man Behind the Curtain")—in much the same way that Richard saw Isabella ("Ab Aeterno").

The Man in Black

It is clear now why as many of the Oceanic Six as possible needed to be brought back to the Island. Not only is the Man in Black trapped on the Island by Jacob, but it seems he is also trapped by Jacob's candidates. His goal is to take them all off the Island with him, which is presumably easier than killing them. The reason I say that is because I can't find a definitive record of the Smoke Monster directly killing anyone who was a candidate, which suggests that he cannot kill candidates for the same reason he could not kill Jacob.

In this episode, the Man in Black asks Sun to join him, dangling the carrot that Jin is with him, but saying that he doesn't want to make her do anything against her will. However, he says this in the same breath as telling her that he gave the people at the Temple the choice to come with him or die. In other words, it is more of an "offer she couldn't refuse"—to quote "The Godfather." He seems surprised when she runs, and pursues her through the jungle. If he really meant she had a choice, why did he pursue her? We have seen numerous instances where characters have manipulating others into making a choice, when it was not, in fact, their choice at all—especially Ben, who is an infamous liar (though still considers himself "one of the good guys.")

The question of how to reconcile this discrepancy in Ben (and potentially the Man in Black) drove me to look into the supernatural concept of "the angel of death." I found several interesting things, but what struck me most was the information I found on the archangel, Samael. An important figure in the Talmud, a text of Judaism, Samael's chief role is as an angel of death. This passage from Wikipedia is particularly relevant to LOST:

In Jewish lore, Samael is said to be the angel of death... Yalkut I, 110 of the Talmud speaks of Samael as Esau's guardian angel... [Some] Hebrew scholars say that it was Samael who tempted Eve in the guise of the Serpent. Samael is also sometimes identified as being the angelic antagonist who wrestled with Jacob...

Esau is the older brother of Jacob in Hebrew texts, and so his name has been tentatively applied to the Man in Black since his first appearance in "The Incident." In the story, Esau promised his birthright (a blessing given to the firstborn) to Jacob in exchange for a bowl of stew. Later, Jacob disguised himself as Esau to receive the blessing from their blind father. When Esau learned what had happened, he vowed to kill Jacob.

While there are parallels between Esau and the Man in Black, the angel Samael parallels the Smoke Monster more. The mural in the "Cerberus chamber" (where Ben was judged) depicted a form of serpent alongside the image of Anubis, an Egyptian god of the dead. Similar to Anubis—but more severe—the character of Samael is dark, and his duties are of death and destruction regardless of his status as good or evil. Indeed, he is seen as evil which serves the purpose of "God's severity."

This is important for our discussion, as it seems there is some confusion among the general audience (myself included) about how the show defines good and evil. LOST has demonstrated extraordinary sophistication in the way it depicts the complexities of this conflict. When we understand that death and destruction can be a part of God's plan, such as the plagues on Egypt, then we can not only entertain the thought that the Man in Black might not be distinctly evil, but we can also understand how both Ben and Widmore can be considered "good guys."

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The Godfather: An exploration of man's capacity for evil.

"LOST: Ab Aeterno"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.


"Ab Aeterno"

Bravo! This is without a doubt the most important episode of LOST so far, which in my book, makes it the most important hour of television ever. If there were any doubts as to the philosophical or literary value of this series, there are no longer. This one episode encapsulated the show's entire core mythology into a microcosm—not only of the show's central struggle—but also of the deepest struggle of man.

In the universe of the show, the Island is a real place (despite Richard's frustrated assertion that they are all dead and in Hell), but it symbolically represents a sort of Purgatory in its function. The people who are brought to the Island are not there to be punished, but to be tested. Jacob insists that the people who he brings there get a clean slate, a chance to start over. This is not an intervention like an absolution, which forgives sin, but a chance to turn from one's wicked ways without the influence of social pressures keeping him in sin.

Jacob believes that people have free will, and should not be forced to do what is right. In this case, "free will" means the freedom to choose to sin or not to sin. To work as Jacob believes it will, this freedom demands first the desire to do good, then the ability to know the difference between good and evil. By contrast, the Man in Black believes it is in the very nature of man to sin, and that to allow him free will is to hasten his corruption. He therefore seeks to destroy the people that come to Island, with the notable exception of those who he can manipulate into killing Jacob.

The interesting thing about this dichotomy, as Richard points out, is that if Jacob refuses to intervene then the Man in Black will. Jacob's absence on the playing field means that the Man in Black is free to cloud the distinction between good and evil (no pun intended), which he does to Richard when he says that Jacob as the devil. He uses Jacob's own philosophy of free will to paint him as a monster who brings people to their death, when the reality is that the Man in Black is largely responsible for their deaths.

As for the desire to do good: traditionally, doing good (or at least being good) is connected with going to Heaven (and hence not going to Hell). Going to Heaven is full of rewards, such as the reunion with loved ones, and is therefore the motivation to do whatever one's belief system requires (in short, doing good). Richard's challenge was that, while he had no malice in his heart, he accidentally killed a man while trying to save his dying wife. His religion (apparently Catholicism) gave him no options to go to Heaven, because he could not be absolved of murder. Therefore, even though he was not evil, he lacked the motivation to do good, and was susceptible to evil's influence.

Jacob promised him the only escape from Hell that was available to him when he made Richard immortal. After Jacob's death, Richard struggled with understanding his purpose. In this episode, he decides to seek out the Man in Black, and take the offer he had given so many years ago. The Man in Black had given Richard the hope that his wife was taken by the devil (Jacob). Whatever Richard had believed about Jacob seemed to vanish with his death, and he ran back to the very place where the Man in Black made his promise. It was there, that the ghost of his wife (communicating through Hurley), gave him a new purpose.

So it is ultimately his true love which is his proverbial "north star." Symbolically, this is genius! Amid all the fiction that puts the pursuit of the "golden haired woman" as the purpose of a man's life, LOST defies convention with truth. A man's wife is his soulmate, his helper, his guide—she is not his purpose, but his partner in fulfilling it. This episode is the answer for all the ambiguity between good and evil throughout this series. All the power and magic comes from the characters' respective purposes and true loves. After all, these are the things that are eternal.

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"LOST: Recon"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.


"Recon"

Executive producer Damon Lindelof suggested in this week's Official LOST Podcast that the title of this episode might have a double meaning. Specifically, he suggested "to con again" in addition to my first thought of "reconnaissance." Reconnaissance is, of course, scouting to gain information, which is what a confidence man like James Ford would need to do prior to an effective con. However, James is revealed to be a detective in the flash-sideways, whose undercover work includes using grifter techniques (like the "pigeon drop") to catch other con artists, hence the word "re-con."

The repeated theme of this episode is "trust." Most notably manifested in his partnership with Miles in the flash-sideways, and the deals he made with Charles Widmore and the Man in Black on the Island. This is a question inherent to James' nature, though it now seems that he has the choice to use the asset of trust for good or evil. He can gain a person's trust to catch a criminal, or to pit two foes against each other and rescue his friends.

In what has become traditional flash-sideways fashion, the trust issues between him and Miles are resolved by the end of the episode when James tells him the story about "Sawyer" and the death of his parents. Unlike on-Island James, he also reveals his hope that Miles will talk him out of killing the man who is responsible for the death of his parents. Because of this moral character in Det. James Ford, it is interesting to note that in the Island timeline it was Jacob's pen that allowed young James to write the letter to "Sawyer" ("The Incident"), which he eventually reads to Anthony Cooper before killing him ("The Brig"). It seems that Jacob caused James to go down the dark path, which seems inconsistent with a character who is supposedly good.

On the Island, James goes to Hydra Island at the request of the Man in Black to gain information about Widmore's people. James tells Widmore that he will march "Locke" to him, unaware, so that Widmore can kill him. James then tells the "Locke" what he told Widmore, and that he'll be surprised when they change their plans. What is interesting to me about this, given the "re-con" title, is that we do not know for certain that Widmore wants to kill the Man in Black. If Widmore is as evil as Ben Linus claims, then James is the one who was conned.

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"LOST: Dr. Linus"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

"Dr. Linus"

As one might expect from the title, the seventh episode of this season centers on Ben Linus. We are introduced to the main theme right away as Dr. Linus teaches his European History students about the island of Elba, where Napoleon faced the test of his lost of power. Ben has, from the very beginning, been a power broker. Even in his most difficult positions, he always had a plan. The numerous times he played the role of prisoner, he was really in control of the situation.

This was especially true in the hands of John Locke, from whom he elicited much frustration. Trapped in the Swan Station (Season 2), Ben spurred on a growing friction between Locke and Jack. He manipulated Locke's need to be special, and Jack's need to be right to eventually drive them both away from the station in order to escape. In Season 4, Locke is holding Ben prisoner at a house in the barracks, but in a matter of a few episodes, Ben is living among them as a free man again.

It is interesting to see the role that "Locke" now plays in Ben's life—both as the disguised Man in Black on the Island and as the substitute teacher in the flash-sideways. It is now clear that Ben's struggle was to balance the desire to protect Alex and a desire for power. In the flash-sideways, the well-meaning John Locke encourages him to pursue the job of school principal (a position of power) when he expresses a concern for his History Club (of which Alex is a member). On the Island, Locke tempts him with the job of leading the Island now that Jacob is gone (a position of power), which he sees as his only purpose now that Alex is dead.

In both timelines, Ben's desire for power leads him to do something unethical. As a teacher, he enlists the help of a colleague to find evidence of an "inappropriate relationship" between the school nurse and the current principal in order to blackmail him into retiring. On the Island, he accepts the help of a "man" who should be his enemy if he were truly a follower of Jacob. In both timelines, he faces the choice of sacrificing that which is more dear to him than power—his relationship with Alex.

In the flash-sideways, Ben's attempted power-grab reveals a choice (at the hand of the principal) of becoming the "leader" of the school or letting Alex "live." This is a parallel of the events in the main timeline, where Ben kidnaps baby Alex, but is told by Charles Widmore that the Island wants her dead. Later Ben becomes the leader when he exiles Widmore because of an "inappropriate relationship" with a woman off the Island. Widmore "changes the rules," which causes Alex to be killed. Despite the dark path he takes on the Island, Ben decides to sacrifice his own chance for advancement to give Alex that chance instead. He appears to feel a sense of liberation at this, even offering to give his parking space away. This is a petty thing, but symbolically very unlike the Ben we know from the Island.

When Locke helps him escape from his shackles in this episode, it is his pain over the loss of Alex that stops him from killing Ilana. We see a more human side of him for probably the first time, as he sympathizes with her loss of Jacob. She ultimately gives him the chance at redemption, forgiving him rather than letting him go to Locke. Interestingly, in the seventh episode of Season 1 ("The Moth"), it is John Locke who gives Charlie the chance at redemption from his drug addiction.

This event seems to conclude Ben's story in the same way that "The Substitute" concluded Locke's story, as discussed in an earlier post. They both continue to live, but the life seems to have gone out of them. Basically, they have accepted their fate or embraced their destiny. This episode seems to reveal that Jack has done so as well, but unlike the now-powerless Ben, Jack seems to have found new power in the confidence of his purpose. Only time will tell how this plays out.

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