NOT LOST ON LOST

More than a decade after its debut, LOST still has not been successfully copied into a new series.

It had a large ensemble cast. It has a deep, twisted and confusing story lines. It was filmed mostly on location in Hawaii. It was expensive to produce.

There are critical favorite shows with large casts like the Walking Dead, but part of the show premise is to have enough "red shirts" to keep the killing drama moving forward. A game of zombie brain musical chairs can only last so long. There are newer shows like Westworld which attempt to sprinkle mysteries and fan theories in the first season, then hurry to try to answer all of them in the finale. It seemed rushed and pushed to hold fan interest.

One of LOST's own rewards was that the viewer had to figure out what the writers refused to answer in their stories. For example, why would the U.S. Military or Dharma "give up" the island with infinite power to the Others, the natives? But we learned that there are no "native" people on the island. Everyone was brought to it by the island guardian, Jacob. And was Jacob a god, an alien, or a monster? Like an abandoned child, a viewer had to come to their own terms on why the show forced a "happy ending" for the characters in lieu of solving the deepest mysteries of the island, like why some much time and attention was placed on ancient Egyptian mythology.

In one respect, the characters personalities and back stories were fully developed by the use of the flash back story technique. However, the back stories were created to be "filler" to slow down the original island story which was a very simple premise of the plane crash survivors creating a new Robinson Crusoe (ironically rhymes with Rousseau) community on a dangerous island. But once the producers ran out of back filler, it jumped its own production shark with the "flash forward" idea and then to the fantasy aspects of illogical time travel and an alternative character universe.

If you have a deck of a dozen main characters, a dozen secondary characters and a hand full of evil characters, you can deal many different conflicts with ease. So the producers rolled the dice with the idea that you build up conflict through mysteries then quickly shift gears without resolution to the next mystery or conflict. The treadmill story telling became is own genre.

One of the reasons LOST has not been copied is that viewers today have shorter attention spans. There are more competitive forms of entertainment literally at people's finger tips: social media, YouTube, Netflix, etc. Network television's "must see" nightly viewing is a fossilized media dinosaur. The burn rate for new shows is high because advertisers only want to support hit shows. So complex dramas with large casts are not in favor because it is felt such a show is too much of a burden on the viewer to digest and cling to for more than a season. Just look at Vine, the six-second video site that drew millions of pre-teen followers, recently bit the dust.

And consumption of television has changed. A segment of the population enjoys "binge" viewing shows. LOST is not the type of show that lends itself to binge viewing. During its original run, the week between shows was a welcome time to try to figure out what the hell was going on between the characters. The search for easter eggs, arguments for/against fan theories, and the interaction in chat rooms is what made LOST special. To try to binge view LOST today for a first time viewer would be cruel and most likely turn into a train wreck. Most would bail on the program before Ben arrives on the scene.

It is really hard to write something "new."  Many people are looking to find different shows to break the entertainment rut. With the internet and U.S. cable operators expanding to international shows from Mexico, Korea and Europe, viewers can get something different in the dramas that are based on unknown cultures or unknown foreign folktales. For example, a very popular Korean drama series, The Gentlemen of Wolgyesu Tailor Shop, airs on KBC World in the U.S. It is a light K-drama that has a large cast of characters but it focuses in on the dynamics of seven different relationships and how they interact between traditional and modern Korean values. For American viewers unfamiliar with traditional Korean culture, it is something beyond the traditional American drama formula. To get something different in your entertainment palette, you have to expand your notion of what you should view (and get over the possibility of watching a program while reading English subtitles).

There were times that subtitles would have been beneficial in LOST. There was a marginal attempt to annotate episodes in an attempt to draw in new viewers when the show began to wobble, but it was mostly an annoying attempt to generically back fill answers to unimportant questions. LOST will continue to fade into history because it is not suitable for syndication or reruns. It will probably go down in television history as one of those "one hit wonders" like in the music industry.