If one looks back at the legacy of LOST, it was a dark friend who could not find his final path.
It began as an action-drama in the vestiges of tales of shipwreck sailors on uninhabited, savage tropical islands. The viewers were drawn into the story as "what would I do?" "How would I survive?" and "This is what I would do" questions in their minds. But we quickly saw the reality of the situation: death. Tragic death.
It quickly shifted to dramatic politics as alpha males started to lobby the survivors to impose their dominance over the group. Jack was the reluctant leader, over the burning desire of Locke and the self-interest of Sawyer.
But the leadership issue was secondary to the instinctive greed of the castaways. Survival of the fittest was the rule of the day. Sawyer began to hoard valuable things which made him into an outcast, a role that he enjoyed. Because he had no connection to the group, he could con them out of their perceived valuables. Kate also fell back into her pre-island survival tactics: charm and escape.
As the days, weeks and months went on, darkness beset our friend. We would see the return of the inner madness in Hurley as his imaginary friend tried to convince him to kill himself. Sawyer would not hesitate to kill Locke's father in a "deal." The Others, especially Ben, had no remorse in ruling by fear and death.
Even the island's guardian angel, Jacob, did not intervene when his Temple followers were massacred by his brother. We were told that this cycle of human carnage was the norm for the Man in Black in his game with Jacob.
In a sense, whether you thought it was true or literary, our island friend was in purgatory; a place where one could not leave on your own - - - trapped in the deepest, darkest and troubled portions of your personality.
It has been said that it always darkest before the dawn. Before the final duel with MIB, the island was in chaos. Splinter groups hid in terror or joined the hunt to destroy the remaining castaways. It was only when Jacob "died" to give Jack the magic power to defeat his brother, did only a handful of people could break their physical and mental chains to leave the island cesspool of damnation.
We never saw what the dawn of a new day would have brought to the survivors who flew off Hydra Island in a broken airplane flown by an alcoholic pilot because the show diverted into a parallel universe. The flip side of darkness, a lighter more gentle (almost medicated) view of the main characters. But even then, they were subconsciously haunted by their island past.
In the end, when the full light engulfed the church, no one can say for sure that anyone found true redemption, true happiness, or even hope of enlightenment. The white light like white noise was a background element that erased the moment only to leave lingering questions in its wake.
Showing posts with label fantasy. Show all posts
Showing posts with label fantasy. Show all posts
Wednesday, December 18, 2019
Tuesday, March 13, 2018
WONDERLAND
What would it be like to be caught between worlds?
The world of the living and the world of the dead.
The world of the living and an other world of a distant alien planet.
Both are plausible explanations of the island in LOST. It is true because of the lack of concrete canon to support the sci-fi story lines with actual physics.
Peppered throughout the discussions of the island are scientific concepts like "portals," "worm holes," time travel experimentation, psychological conditioning, and unique electromagnetic properties. But to suspend belief in a science basis for the island, what do we have to consider?
An island that cannot be seen or mapped from the sky is not an island. It is something else.
An island that can move and disappear is not an island. It has to be something else.
But since Eloise Hawking could calculate its apparent location (with some assumptions), the island's movement must follow a pattern. Nature follows patterns. So does the Earth's electromagnetic grid. The island could be moving to intersection points along with Earth's electromagnetic grid. This makes the island a ship and not an island.
Electromagnetism and bending of light are principles in research for stealth technologies. To make things appear invisible, magicians use mirrors and distraction (such as a pretty assistant) to make the illusion complete. Mirrors, distractions and illusions were all story points in LOST.
What is the purpose of an island moving along an electromagnetic grid? It could be "recharging" itself from specific deep core entry points. It may need a certain amount of energy or flow to "contain" its own power system (which malfunctioned several times to create time skips and purple skies).
Some viewers believed the island was a space-time portal. The teleportation of Locke and Ben to Tunisia was proof of it (in a small scale). The capture of Flight 815 from the sky could be another example as well as all the ship wrecks. It could also explain the "immortality" of Jacob since he controlled the island and thus controlled time itself. One could equate Jacob to that of being a Time Lord.
No one has really thought about the island as being a TARDIS like device piloted by aliens. But in a UFO observatory conspiracy theory, an island would be a good cover to house a base to spy on human beings. A remote island would be a great place to bring humans to do experiments on. You don't need to be gray aliens to poke humans; as shape shifting beings you can create yourself in the image of your laboratory animals.
Jacob and the Man in Black did admit that bringing humans to the island was part of their grand game. An experiment on how humans react to the island conditions, with MIB lamenting that humans always screwed up in the end. MIB was so frustrated with it that he wanted to go "home." But Jacob would not let him - - - basically making him/it a prisoner on the island. So MIB used the corrupt humans in order to rebel against Jacob, to seize control of the island ship to leave Earth.
It does sound like a Dr. Who story line: who controls the TARDIS can control the universe. As Widmore desired control of the island, there were others like Ben who tried to protect it from becoming a weapon of power. But Ben was corrupted by that same power when he purged Dharma.
Therefore, we have the literary means of the island being the center piece between two worlds. The debate is what is the other world? Is it the religious connotation of the after life (as adored by the temple and the Egyptian mythology)? Or it is a sci-fi based drama based upon the Faraday notebook and Dharma stations?
In either situation, it puts our castaways not as lost survivors of a transportation disaster, but human guinea pigs in a science fiction fantasy world.
The world of the living and the world of the dead.
The world of the living and an other world of a distant alien planet.
Both are plausible explanations of the island in LOST. It is true because of the lack of concrete canon to support the sci-fi story lines with actual physics.
Peppered throughout the discussions of the island are scientific concepts like "portals," "worm holes," time travel experimentation, psychological conditioning, and unique electromagnetic properties. But to suspend belief in a science basis for the island, what do we have to consider?
An island that cannot be seen or mapped from the sky is not an island. It is something else.
An island that can move and disappear is not an island. It has to be something else.
But since Eloise Hawking could calculate its apparent location (with some assumptions), the island's movement must follow a pattern. Nature follows patterns. So does the Earth's electromagnetic grid. The island could be moving to intersection points along with Earth's electromagnetic grid. This makes the island a ship and not an island.
Electromagnetism and bending of light are principles in research for stealth technologies. To make things appear invisible, magicians use mirrors and distraction (such as a pretty assistant) to make the illusion complete. Mirrors, distractions and illusions were all story points in LOST.
What is the purpose of an island moving along an electromagnetic grid? It could be "recharging" itself from specific deep core entry points. It may need a certain amount of energy or flow to "contain" its own power system (which malfunctioned several times to create time skips and purple skies).
Some viewers believed the island was a space-time portal. The teleportation of Locke and Ben to Tunisia was proof of it (in a small scale). The capture of Flight 815 from the sky could be another example as well as all the ship wrecks. It could also explain the "immortality" of Jacob since he controlled the island and thus controlled time itself. One could equate Jacob to that of being a Time Lord.
No one has really thought about the island as being a TARDIS like device piloted by aliens. But in a UFO observatory conspiracy theory, an island would be a good cover to house a base to spy on human beings. A remote island would be a great place to bring humans to do experiments on. You don't need to be gray aliens to poke humans; as shape shifting beings you can create yourself in the image of your laboratory animals.
Jacob and the Man in Black did admit that bringing humans to the island was part of their grand game. An experiment on how humans react to the island conditions, with MIB lamenting that humans always screwed up in the end. MIB was so frustrated with it that he wanted to go "home." But Jacob would not let him - - - basically making him/it a prisoner on the island. So MIB used the corrupt humans in order to rebel against Jacob, to seize control of the island ship to leave Earth.
It does sound like a Dr. Who story line: who controls the TARDIS can control the universe. As Widmore desired control of the island, there were others like Ben who tried to protect it from becoming a weapon of power. But Ben was corrupted by that same power when he purged Dharma.
Therefore, we have the literary means of the island being the center piece between two worlds. The debate is what is the other world? Is it the religious connotation of the after life (as adored by the temple and the Egyptian mythology)? Or it is a sci-fi based drama based upon the Faraday notebook and Dharma stations?
In either situation, it puts our castaways not as lost survivors of a transportation disaster, but human guinea pigs in a science fiction fantasy world.
Tuesday, July 4, 2017
CRACKED UP
Cracked had an article trying to answer the great unsolved mysteries of television.
Of course, LOST was one of those TV enigmas.
This is how it summed up the series and its ending:
It begins with the basic premise question: were the characters time-travelers, incompetent aliens, sexy magicians or spirits in the afterlife? Was everyone on the show dead? Was it all the dream of an autistic child?
Their Explanation:
It's not the afterlife, and the island is magic. As for every other question, some were answered in an epilogue on the Season 6 DVD set, though they too can easily be summed as everything was an experiment by DHARMA.
Some DVD question and answers were referenced as support of their argument:
"What's with that giant bird from Seasons 1 and 2?" DHARMA experimented on animals!
"Why do women have pregnancy problems on the Island?" It's the electromagnetism!
"What was that weird thing in Room 23 that looked like a brainwashing video?" A brainwashing video! DHARMA used it to erase memories!
"Where did the food drops come from?" A warehouse in Guam!
"Why polar bears?" They were good candidates for testing!
>>>> Except, what about the elements not tied to the Dharma folks. Namely, all the island inhabitants, including the immortal guardians Crazy Mom and Jacob? Does the island magic come from these immortals trapped on the island (for what reason?)? See, the question within the question madness?!
Sure, one can logically state that something out of the ordinary would seem to be "magic" to a primitive culture. For example, an isolated island tribe with no contact with modern, western civilization could consider a helicopter as "magic" since they have never seen aircraft. But the pilot could "explain" to the tribe the basic principles of flight. In LOST, the explanation of "magic" has no basic principle in which viewers could believe. It is purely used in this context as a broad brush for a fantasy story (which intentionally did not want to explain its elements).
Of course, LOST was one of those TV enigmas.
This is how it summed up the series and its ending:
What The Hell, Lost?
It begins with the basic premise question: were the characters time-travelers, incompetent aliens, sexy magicians or spirits in the afterlife? Was everyone on the show dead? Was it all the dream of an autistic child?Their Explanation:
It's not the afterlife, and the island is magic. As for every other question, some were answered in an epilogue on the Season 6 DVD set, though they too can easily be summed as everything was an experiment by DHARMA.
"What's with that giant bird from Seasons 1 and 2?" DHARMA experimented on animals!
"Why do women have pregnancy problems on the Island?" It's the electromagnetism!
"What was that weird thing in Room 23 that looked like a brainwashing video?" A brainwashing video! DHARMA used it to erase memories!
"Where did the food drops come from?" A warehouse in Guam!
"Why polar bears?" They were good candidates for testing!
Sure, one can logically state that something out of the ordinary would seem to be "magic" to a primitive culture. For example, an isolated island tribe with no contact with modern, western civilization could consider a helicopter as "magic" since they have never seen aircraft. But the pilot could "explain" to the tribe the basic principles of flight. In LOST, the explanation of "magic" has no basic principle in which viewers could believe. It is purely used in this context as a broad brush for a fantasy story (which intentionally did not want to explain its elements).
Friday, February 19, 2016
LUCID DREAMS
Sleep is an important function in humans. The exact nature of why people need to sleep (let alone the recommended eight hours a night) is unclear. Researchers have been trying to figure out why during a rest phase, human brains tend to remain active, including dreams and nightmares. Some have begun to research the condition of lucid dreams, a dream state where the sleeper actively controls what happens in their dreams.
It is postulated that if you think about something before you go asleep, your short term memory will be accessed to help complete the story before you wake. Other researchers think that strong, troubling thoughts or anxiety levels are put to the test when people dream. In other words, dreams are a series of symbolic "what if" scenarios to train your brain to decide a proper outcome in the decision making process when you are awake.
Lucid dreams may just be planted suggestions as you doze off. For example, if a teen boy has a crush on a school girl but he is too shy to talk to her, he may dream about her in such a way to interact with her without being rejected in real life. It may not be a lucid dream, but a planted story idea that the brain may create using stored memories.
The researchers found a significant relationship between how often
people snoozed and how often they remembered dreams and experienced
lucid dreams. While it could be that people who snooze a lot and people
who lucid dream a lot have some unknown quality in common, there’s also a
possibility that being briefly awoken by an alarm before going back to
sleep might put your brain in the right mode to lucid dream, such as by
producing rapid eye movement sleep (REM), a sleep stage that has been linked to lucid dreaming.
Lucid dreams can take on a high definition quality to it. There may be more "verbal" interaction with other people, known or unknown; in highly charged or adventurous situations. The sleeper may take on roles that do not suit him or her in real life. A shy, introvert could be a superhero in a lucid dream state.
And this is why the dream theory has many followers in the LOST world. It explains away all the continuity, science and plot errors or omissions because dreams are not real. It also explains the sci-fi elements like the smoke monster and lack of punishment for crimes and sins because they really did not happen. The components of LOST could be a jig saw puzzle of symbolic aspects of human life that are jumbled together into a layered story. And in such a fashion, the lucid fantasy could feel like it is real to the dreamer.
It is postulated that if you think about something before you go asleep, your short term memory will be accessed to help complete the story before you wake. Other researchers think that strong, troubling thoughts or anxiety levels are put to the test when people dream. In other words, dreams are a series of symbolic "what if" scenarios to train your brain to decide a proper outcome in the decision making process when you are awake.
Lucid dreams may just be planted suggestions as you doze off. For example, if a teen boy has a crush on a school girl but he is too shy to talk to her, he may dream about her in such a way to interact with her without being rejected in real life. It may not be a lucid dream, but a planted story idea that the brain may create using stored memories.
In a study in the journal Dreaming, a pair of psychological researchers from the Sleep Laboratory at Swansea University in the UK report that people who hit their alarm clock’s snooze button more often tend to have more lucid dreams. A
total of 84 participants between the ages of 18 and 75 filled out an
online survey about their alarm clock usage and the frequency of their
lucid dreams, if they had any. The participants were recruited through
online forums on dreaming, although some reported never having succeeded
in having a lucid dream.
Lucid dreams can take on a high definition quality to it. There may be more "verbal" interaction with other people, known or unknown; in highly charged or adventurous situations. The sleeper may take on roles that do not suit him or her in real life. A shy, introvert could be a superhero in a lucid dream state.
And this is why the dream theory has many followers in the LOST world. It explains away all the continuity, science and plot errors or omissions because dreams are not real. It also explains the sci-fi elements like the smoke monster and lack of punishment for crimes and sins because they really did not happen. The components of LOST could be a jig saw puzzle of symbolic aspects of human life that are jumbled together into a layered story. And in such a fashion, the lucid fantasy could feel like it is real to the dreamer.
Friday, July 24, 2015
Wednesday, November 12, 2014
HAPPY ENDINGS
There is a trend that seems to come from Pan-Asian entertainment stories from Japan and Korea. Long lived shows, comics, or manga seem to need to end happily ever after. In Japan, the Trinity of global manga-anime franchises (Naruto, Bleach, One Piece) is winding down with the Bleach anime ending its run after 366 episodes with a happy ending as the lead regains his powers and heads home. After 15 years of publishing and selling more than 130 million issues, Naruto manga concluded with a two part "Harry Potter" style happy ending set 10 years after the action stops.
The culture must expect a story to have a happy ending; a publisher may demand one in order to leave the fans upbeat for the next franchise. It also may be the creator's vision, since he or she must think that the characters they nurtured for so long are like family, and everyone wants their family to live on happily ever after. You can have the most violent, vile, bloody and evil action series suddenly wrap up with a tortured, stretched but positive ending.
And that is the divide in America entertainment from the Asian ending principles.
In U.S. shows, there is a greater focus on "the anti-hero," characters who are acting outside the norms of society. Their brash freedom and anti-authority beliefs still strikes a chord in the American spirit of independence, adventure and freedom.
So in U.S. shows, the hero character does not necessarily live happily ever after - - - in most cases the character's adventurous fun runs into the long arm of the law, and is crushed without any moral redemption. Breaking Bad's ending is an example of this, where the main character had no regrets for the pain he caused to others. And most fans of the show expected and accepted this ending.
With all the red shirt killings, evil mental torture, manipulations of people's souls, LOST was barreling down the road to a chaotic and explosive ending where no one was going to be saved from the dangers of the island. So a great deal of fans expected the show to end in a flurry of death and characters unable to come to terms with their faults, their lost lives, or their wasted second chances (as capsuled in Locke's earlier demise). Despite all the adventures, choices, decisions and actions of the main characters, no one found any real redemption from their evil ways, sins or regrets.
But since many fans loved their characters like close friends for six years, they were pleasantly surprised and happy that their fantasy reunion in the after life was the last images of the series. They believed the characters suffered enough in life to have some sort of reward in the next life. And that reward should be shared with their island colleagues.
There is no right or wrong answer to this theme of ending a long running show with a happy ending. It is a creative choice the writers consciously make in order to finish their vision of their characters. And with any creative endeavor, there will be various viewpoints on how successful the ending is perceived by fans.
The culture must expect a story to have a happy ending; a publisher may demand one in order to leave the fans upbeat for the next franchise. It also may be the creator's vision, since he or she must think that the characters they nurtured for so long are like family, and everyone wants their family to live on happily ever after. You can have the most violent, vile, bloody and evil action series suddenly wrap up with a tortured, stretched but positive ending.
And that is the divide in America entertainment from the Asian ending principles.
In U.S. shows, there is a greater focus on "the anti-hero," characters who are acting outside the norms of society. Their brash freedom and anti-authority beliefs still strikes a chord in the American spirit of independence, adventure and freedom.
So in U.S. shows, the hero character does not necessarily live happily ever after - - - in most cases the character's adventurous fun runs into the long arm of the law, and is crushed without any moral redemption. Breaking Bad's ending is an example of this, where the main character had no regrets for the pain he caused to others. And most fans of the show expected and accepted this ending.
With all the red shirt killings, evil mental torture, manipulations of people's souls, LOST was barreling down the road to a chaotic and explosive ending where no one was going to be saved from the dangers of the island. So a great deal of fans expected the show to end in a flurry of death and characters unable to come to terms with their faults, their lost lives, or their wasted second chances (as capsuled in Locke's earlier demise). Despite all the adventures, choices, decisions and actions of the main characters, no one found any real redemption from their evil ways, sins or regrets.
But since many fans loved their characters like close friends for six years, they were pleasantly surprised and happy that their fantasy reunion in the after life was the last images of the series. They believed the characters suffered enough in life to have some sort of reward in the next life. And that reward should be shared with their island colleagues.
There is no right or wrong answer to this theme of ending a long running show with a happy ending. It is a creative choice the writers consciously make in order to finish their vision of their characters. And with any creative endeavor, there will be various viewpoints on how successful the ending is perceived by fans.
Thursday, April 3, 2014
NONSENSE
“I like nonsense, it wakes up the brain cells. Fantasy is a necessary
ingredient in living; it’s a way of looking at life through the wrong
end of a telescope. Which is what I do, and that enables you to laugh at
life’s realities." - - Dr. Seuss
Let's break this statement down.
Nonsense = Good.
Fantasy = Necessary
Good Fantasy = Necessary Nonsense.
That works well in the crazy Dr. Seuss children's stories.
But on the other hand, Bad Fantasy equals Unnecessary Nonsense.
If one pulled Across the Sea out of Season 6 and made that the pilot episode, then the premise that LOST was an elaborate fantasy world could have made viewing Season 6 more palatable. But it still would not have fully explained The End or the sideways story construction. The more we look at the sideways tangent, the more nonsensical it becomes in the overall picture.
If the real premise of the show was that "someone" had to protect "something" that in itself creates "life, death and rebirth" (which probably needs no protection per se), the main characters being tossed into the struggle for control of the light cave would equate to a simple classic western tale of sheepherders and ranchers fighting over "water rights" in the valley. So there is no reason that the main characters had to wind up in some sideways world (but not called heaven) after death in order to have a happy reunion. Further, despite all the events, deaths, missions, statements about the candidates and Jacob's non-ceremonial power transfer, nothing changed with the light cave itself.
The whole LOST series did spark heated debates in the fan communities on what things meant, and how things were related, to opinions on the grand purpose of the show. But at a certain point, nonsense does not make good drama.
Let's break this statement down.
Nonsense = Good.
Fantasy = Necessary
Good Fantasy = Necessary Nonsense.
That works well in the crazy Dr. Seuss children's stories.
But on the other hand, Bad Fantasy equals Unnecessary Nonsense.
If one pulled Across the Sea out of Season 6 and made that the pilot episode, then the premise that LOST was an elaborate fantasy world could have made viewing Season 6 more palatable. But it still would not have fully explained The End or the sideways story construction. The more we look at the sideways tangent, the more nonsensical it becomes in the overall picture.
If the real premise of the show was that "someone" had to protect "something" that in itself creates "life, death and rebirth" (which probably needs no protection per se), the main characters being tossed into the struggle for control of the light cave would equate to a simple classic western tale of sheepherders and ranchers fighting over "water rights" in the valley. So there is no reason that the main characters had to wind up in some sideways world (but not called heaven) after death in order to have a happy reunion. Further, despite all the events, deaths, missions, statements about the candidates and Jacob's non-ceremonial power transfer, nothing changed with the light cave itself.
The whole LOST series did spark heated debates in the fan communities on what things meant, and how things were related, to opinions on the grand purpose of the show. But at a certain point, nonsense does not make good drama.
Monday, March 31, 2014
LOST ELEMENTS EXPLAINED
There were several major elements in the LOST saga which do not appear to be compatible.
The first, and most confusing aspect to LOST, was time travel. The idea of a human being going back and forth to the past or the future is physically impossible. It is pure science fiction. It is a device to throw a character into an unknown situation in order to elicit a reaction.
Second, there was concepts of the supernatural. The smoke monster does not exist in our current world. It has to be something supernatural, beyond nature, because we know that smoke cannot aggregate, travel with intelligence, steal the minds of individuals and transform into human beings. This is also science fiction.
But every person today time travels. People time travel every day of their lives, and not just in the linear clock from dawn to dusk. People who access their memories are effectively time traveling back to their past. Those memories can be good or bad. But they are strong enough emotionally to be stored in one's long term memory.
People also time travel to the future. It is called dreams. The element of subconscious interplay with memories, experience, emotions and events creates a fantasy scape similar to the manifestation of a smoke monster. Depending on whether a person can control their dreams, then act upon them during their waking lives, is transformational.
A child could dream to one day become a fire fighter. He can imagine himself as a grown man riding in a hook and ladder engine racing to a blazing fire. He takes those dreams and places them into his memory. He uses his subconscious to help him run scenarios on how to achieve his goal. As he grows up, he channels his time and resources into becoming a fireman. He goes to school. He stays physically fit. He enrolls in the academy. He works on his training. He reaches his goal and then assigned to a fire station.
It may take years in order to accomplish such dream. But that is why people need to sleep - - - to recharge their physical body, but also organize their mind to meet their dreams. A cluttered or disrupted mind will not help a person achieve their goals; it may create the situation where nightmares begin to control their thoughts - - - making them a mental wreck.
The time travel and supernatural elements to the series may be only metaphors for a series of character developments as individuals try to take control of their own fantasies without applying their dreams in their waking lives. It is only when a person has the courage to take action on their inner feelings in their waking life can there be true change and new beginnings. Instead of "what could be" a person who awakes with road map to a goal, can achieve that goal - - - whether it be a career, a project completion, or even relationships.
The first, and most confusing aspect to LOST, was time travel. The idea of a human being going back and forth to the past or the future is physically impossible. It is pure science fiction. It is a device to throw a character into an unknown situation in order to elicit a reaction.
Second, there was concepts of the supernatural. The smoke monster does not exist in our current world. It has to be something supernatural, beyond nature, because we know that smoke cannot aggregate, travel with intelligence, steal the minds of individuals and transform into human beings. This is also science fiction.
But every person today time travels. People time travel every day of their lives, and not just in the linear clock from dawn to dusk. People who access their memories are effectively time traveling back to their past. Those memories can be good or bad. But they are strong enough emotionally to be stored in one's long term memory.
People also time travel to the future. It is called dreams. The element of subconscious interplay with memories, experience, emotions and events creates a fantasy scape similar to the manifestation of a smoke monster. Depending on whether a person can control their dreams, then act upon them during their waking lives, is transformational.
A child could dream to one day become a fire fighter. He can imagine himself as a grown man riding in a hook and ladder engine racing to a blazing fire. He takes those dreams and places them into his memory. He uses his subconscious to help him run scenarios on how to achieve his goal. As he grows up, he channels his time and resources into becoming a fireman. He goes to school. He stays physically fit. He enrolls in the academy. He works on his training. He reaches his goal and then assigned to a fire station.
It may take years in order to accomplish such dream. But that is why people need to sleep - - - to recharge their physical body, but also organize their mind to meet their dreams. A cluttered or disrupted mind will not help a person achieve their goals; it may create the situation where nightmares begin to control their thoughts - - - making them a mental wreck.
The time travel and supernatural elements to the series may be only metaphors for a series of character developments as individuals try to take control of their own fantasies without applying their dreams in their waking lives. It is only when a person has the courage to take action on their inner feelings in their waking life can there be true change and new beginnings. Instead of "what could be" a person who awakes with road map to a goal, can achieve that goal - - - whether it be a career, a project completion, or even relationships.
Labels:
dreams,
elements,
experiments,
explain,
fantasy,
LOST,
supernatural,
time travel
Saturday, March 29, 2014
A DEBATE
There is a mild debate whether LOST was a science fiction or a fantasy show.
For those sci-fi fans, their fiction is rooted in science and principles of technology that can be extrapolated into future applications. For example, in the original Star Trek, a digital clipboard the crew used seemed beyond the current sciences, but today the tablet computer is mainstream.
On the fantasy side, people who like their fiction in new worlds or magical realms like Harry Potter or the Lord of the Rings, find interest in the minute detail of these strange, exotic lands and environments. In the Potterverse, it was the new language of those books that captivated young readers - - - it opened a portal into a new imaginary world beyond Disney.
In some ways, sci-fi fans want some tangible base in which the story can have a foundation. In fantasy, it is a vivid intangible elements explained within their own environment that is the hook.
These types of stories run parallel tracks. They each have their good points and bad points. Each can have very good premises and story telling ideas.
LOST certainly stressed a lot of science in the series. The references to the Dharma stations invoked many classic fields of study including biology, psychology, chemistry to sonic technology. In fact, many fans sought out scientific explanations for the island, time travel, the electromagnetic fields to even the ghost images the characters interacted with while in the jungle.
LOST also had a lot of mythical, supernatural elements. The large portion of the later set designs with Egyptian hieroglyphs seeded the viewer with ancient cultural beliefs in the after life. The supernatural elements included the unexplained smoke monster - - was it nanotechnology or an evil spirit? Some find a basic hero story of Jack slaying the dragon (Flocke). And then there was the sideways world in which everyone was dead but living complex human lives.
Part of the problem is that both sides are right. LOST shifted between the various story genres at will, which causes some form of confusion, inconsistency and practical errors. As the series went on, the continuity of story lines became more problematic. Was LOST going to stay an adventure-survival story as it warped into a sci-fi drama? And when it changed to supernatural elements and the sideways parallel universe, and the Desmond superman arc against EM energy, was fantasy how the show would be explained to the fans?
The vagueness of the producers lack of explanations of their own vision also clouds this debate. For if the writers wanted us to make our own sense of what was shown, then those producers and writers should not be upset with our criticisms or opinions. For if the producers and writers would come out on one side of the debate, sci-fi or fantasy, that would eliminate a great deal tension between these story forms. But then again, it would open another avenue of inquiry on that road and whether the stories made any sense in that genre.
For those sci-fi fans, their fiction is rooted in science and principles of technology that can be extrapolated into future applications. For example, in the original Star Trek, a digital clipboard the crew used seemed beyond the current sciences, but today the tablet computer is mainstream.
On the fantasy side, people who like their fiction in new worlds or magical realms like Harry Potter or the Lord of the Rings, find interest in the minute detail of these strange, exotic lands and environments. In the Potterverse, it was the new language of those books that captivated young readers - - - it opened a portal into a new imaginary world beyond Disney.
In some ways, sci-fi fans want some tangible base in which the story can have a foundation. In fantasy, it is a vivid intangible elements explained within their own environment that is the hook.
These types of stories run parallel tracks. They each have their good points and bad points. Each can have very good premises and story telling ideas.
LOST certainly stressed a lot of science in the series. The references to the Dharma stations invoked many classic fields of study including biology, psychology, chemistry to sonic technology. In fact, many fans sought out scientific explanations for the island, time travel, the electromagnetic fields to even the ghost images the characters interacted with while in the jungle.
LOST also had a lot of mythical, supernatural elements. The large portion of the later set designs with Egyptian hieroglyphs seeded the viewer with ancient cultural beliefs in the after life. The supernatural elements included the unexplained smoke monster - - was it nanotechnology or an evil spirit? Some find a basic hero story of Jack slaying the dragon (Flocke). And then there was the sideways world in which everyone was dead but living complex human lives.
Part of the problem is that both sides are right. LOST shifted between the various story genres at will, which causes some form of confusion, inconsistency and practical errors. As the series went on, the continuity of story lines became more problematic. Was LOST going to stay an adventure-survival story as it warped into a sci-fi drama? And when it changed to supernatural elements and the sideways parallel universe, and the Desmond superman arc against EM energy, was fantasy how the show would be explained to the fans?
The vagueness of the producers lack of explanations of their own vision also clouds this debate. For if the writers wanted us to make our own sense of what was shown, then those producers and writers should not be upset with our criticisms or opinions. For if the producers and writers would come out on one side of the debate, sci-fi or fantasy, that would eliminate a great deal tension between these story forms. But then again, it would open another avenue of inquiry on that road and whether the stories made any sense in that genre.
Sunday, March 16, 2014
DIFFERENCE
In trying to find patterns between characters, we almost forgot to focus in on major differences.
Hurley was raised in a strict Catholic household.
His mother was an overbearing force, especially after his father left the family.
Hurley was very shy around girls; he was very self-conscious about himself and his appearance.
He never had a girlfriend. The one girl he asked out was taken away by his best friend.
He was socially awkward around the opposite sex.
When his mother pushed him to find a nice girl, Hurley went farther and farther into his shell.
He lacked confidence or ambition to change his background existence.
In some respects, he hid behind his behind the counter fast food hideaway.
So Hurley had a bummer life, but so did many of the other main characters. But what was different with Hurley was that he was the only one who was still a virgin. Everyone else had had relations, before, during and after the island events. Hurley was portrayed as clumsy around women.
The simple symbols around his life turns on this personal stress. It is said that men think about sex more than a 100 times a day. It would seem that based upon his upbringing, social skills and shyness, Hurley could have reverted himself into a mental shell to hide from the rejection, disappointment and pain of trying to meet expectations in a real relationship. From the phonetics of Mr. Cluck's to the drumsticks to multi-millionaire status without any woman vying for his attention (recall, Anna Nicole Smith's marriage to the old oil tycoon), something is off.
Participate in your dreams today. There are unlimited opportunities available with this new day. Take action on those wonderful dreams you've had in your mind for so long. Remember, success is something you experience when you act accordingly. — Steve Maraboli
He was a young man who had nothing but his own personal dreams. Hurley thought he could not find his own happiness without hurting people around him. He blamed himself for his dad leaving home. He blamed himself for the porch accident. He never had any ambition to have a career with a good paying job. Winning the lottery was a fantasy come true. Money solves all problems, or so the saying goes. But in Hurley's case, it bought him nothing but pain. Thus his devine curse was rooted in his analysis of the world around him. The Numbers were the trigger point of pain.
But nothing like that had to be real. In his dreams, Hurley could have gone through the various scenarios like winning the lottery to find out that he always ends up alone. His subconscious continues to feed his insecurities about women to the point where he has to increase the fantasy situations in order to find a sliver of happiness.
He transforms a catatonic patient, Libby, into his dream woman lost on an island. They would have an awkward romance. But in all his past dreams, she is taken away from him. He then thinks the only way he can have her is in the next life, after death.
It is plausible theory that an lonely young man with an avid imagination spiked with mental illness could craft a diverse fantasy universe where he is the self-loathing broken loner seeking a soul mate.
Hurley was raised in a strict Catholic household.
His mother was an overbearing force, especially after his father left the family.
Hurley was very shy around girls; he was very self-conscious about himself and his appearance.
He never had a girlfriend. The one girl he asked out was taken away by his best friend.
He was socially awkward around the opposite sex.
When his mother pushed him to find a nice girl, Hurley went farther and farther into his shell.
He lacked confidence or ambition to change his background existence.
In some respects, he hid behind his behind the counter fast food hideaway.
So Hurley had a bummer life, but so did many of the other main characters. But what was different with Hurley was that he was the only one who was still a virgin. Everyone else had had relations, before, during and after the island events. Hurley was portrayed as clumsy around women.
The simple symbols around his life turns on this personal stress. It is said that men think about sex more than a 100 times a day. It would seem that based upon his upbringing, social skills and shyness, Hurley could have reverted himself into a mental shell to hide from the rejection, disappointment and pain of trying to meet expectations in a real relationship. From the phonetics of Mr. Cluck's to the drumsticks to multi-millionaire status without any woman vying for his attention (recall, Anna Nicole Smith's marriage to the old oil tycoon), something is off.
Participate in your dreams today. There are unlimited opportunities available with this new day. Take action on those wonderful dreams you've had in your mind for so long. Remember, success is something you experience when you act accordingly. — Steve Maraboli
He was a young man who had nothing but his own personal dreams. Hurley thought he could not find his own happiness without hurting people around him. He blamed himself for his dad leaving home. He blamed himself for the porch accident. He never had any ambition to have a career with a good paying job. Winning the lottery was a fantasy come true. Money solves all problems, or so the saying goes. But in Hurley's case, it bought him nothing but pain. Thus his devine curse was rooted in his analysis of the world around him. The Numbers were the trigger point of pain.
But nothing like that had to be real. In his dreams, Hurley could have gone through the various scenarios like winning the lottery to find out that he always ends up alone. His subconscious continues to feed his insecurities about women to the point where he has to increase the fantasy situations in order to find a sliver of happiness.
He transforms a catatonic patient, Libby, into his dream woman lost on an island. They would have an awkward romance. But in all his past dreams, she is taken away from him. He then thinks the only way he can have her is in the next life, after death.
It is plausible theory that an lonely young man with an avid imagination spiked with mental illness could craft a diverse fantasy universe where he is the self-loathing broken loner seeking a soul mate.
Sunday, December 15, 2013
AWAKENING
There was a great emphasis on the main characters "awakening" in the sideways world - - - to remember the "importance" of their island time together - - - in order to "move on" in the after life.
The term "awaken" refers to a process which most fans do not acknowledge as a premise for the show.
To "awake" means to stop sleeping; wake from sleep; or to cause (someone) to wake from sleep. It could also mean to regain consciousness or to become aware of a realization. It can also be to become active again, such as "there were echoes and scents that awoke some memory in me."
However, the adjective of awake means not asleep, i.e. the noise might keep you awake at night.
So what did this mean in the context of LOST?
The most obvious would be that the characters were in a dream state; that they were not awake. If we put that into the situation of the island, that means all the characters and actions were part of a complex dream world. If it was a complex dream world, was it the dream of a single person or a collective network of separate dreamers interacting with each other.
If the latter is true, then how would the main characters be "together" in the dream world. There are a few possibilities:
First, all the characters are together in one place. For example, a medical hospital undergoing various treatments. As they are hooked up to their medical equipment (including life support and computer EKG readings), their subconscious filters through the system and interacts with the other patients who are in a similar dream state.
Or, all the main characters are actually children in an orphanage. This would explain, in part, the deep rooted parental issues, betrayal and abandonment. It would also feed the persistent character trait of personal loneliness. Children in an orphanage would naturally dream intense fantasies because they believe their current lives are dark and lonely.
Second, that the characters are in a coma state - - - either as a result of accidents or as part of grand scientific research experiment. The latter would tie into the Dharma experimentation in mind control and manipulation of unique energy systems. The human brain is the most complex energy system in the planet; and one which most mainstream science still does not fully understand. By containing the brains of diverse individuals in a deep control group (such as in a coma state), the researchers could feed their minds with various scenarios to see how they react. For example, inject the terror of a mysterious smoke monster into their minds to see how they would process that information in their patient's dreams.
Third, that the characters were actually "awake" but in a virtual reality that was the island. This could also be an experiment on how the brain works in regard to virtual soldier technology. We know that the defense department and government agencies have used virtual reality systems to train soldiers for combat missions. This would be a leap forward in technology, almost Avatar like, dealing with missions in real time. Perhaps in the future, as referenced in an old Star Trek episode, wars would be fought by soldiers in a virtual reality setting, to avoid the human pain and suffering of real warfare.
But if the characters were participants in this virtual combat world, why would they not "remember" it. If the technology was sufficient to implant the game program into their minds, it probably would have been just as easy as to erase or block those memories once the characters were no longer needed in the experiment.
So the concept of awakening in the series had to mean that the characters woke up or remembered something critical in their past (i.e. the island). After losing their conscious to a virtual dream world called the island, the characters were put back into normal situations to live normal lives as shown in the sideways world. Now this would work perfectly as a reasonable explanation of the entire series except for one critical plot detail. In the sideways world, everyone was dead.
This gets us back to the last definition of the word: to become aware of a realization.
I have thought for a long time that knowledge is power. If one knew what was going on at any moment in time, they could control their own destiny. Early on, I thought that Rose became fully aware of what the island really was because the pain of her incurable cancer was gone after the plane crash. Rose became aware on the beach that she had died in the plane crash. That is why she thought everything would be alright; that she would meet up with her husband soon.
This is also why Rose and Bernard later broke away from the survivors and their dramas with the island inhabitants. They knew that what they were up to was not "real." Rose and Bernard wanted to keep to themselves so they could enjoy the "extended time" they were granted, together.
It would also explain why we did not see Rose and Bernard "awaken" in the sideways world. They did not have to awaken. They already knew of their deaths while on the island. It would seem that all the LOST souls had to awaken by themselves - - - and once each individual came to the realization that they were actually dead, could their souls move on in the after life (as depicted at the ending of the sideways church scenes).
Everything up to that point was the individual's subconscious not wanting to let go with "life." It was fueled by the regrets of the characters; the things they never experienced in their life (such as Hurley finding a true love in Libby). Somehow, some one gave these lost souls the opportunity to live a second life on the island in order to experience those past events and maybe soothe their regrets.
If that is the case, then Jacob would be more like Clarence from It's a Wonderful Life than the Devil. He brought the people to the island. And the island gave them a second chance to find trust, love, friendship and a sense of purpose. It gave those lost souls a second chance before final judgment.
The term "awaken" refers to a process which most fans do not acknowledge as a premise for the show.
To "awake" means to stop sleeping; wake from sleep; or to cause (someone) to wake from sleep. It could also mean to regain consciousness or to become aware of a realization. It can also be to become active again, such as "there were echoes and scents that awoke some memory in me."
However, the adjective of awake means not asleep, i.e. the noise might keep you awake at night.
So what did this mean in the context of LOST?
The most obvious would be that the characters were in a dream state; that they were not awake. If we put that into the situation of the island, that means all the characters and actions were part of a complex dream world. If it was a complex dream world, was it the dream of a single person or a collective network of separate dreamers interacting with each other.
If the latter is true, then how would the main characters be "together" in the dream world. There are a few possibilities:
First, all the characters are together in one place. For example, a medical hospital undergoing various treatments. As they are hooked up to their medical equipment (including life support and computer EKG readings), their subconscious filters through the system and interacts with the other patients who are in a similar dream state.
Or, all the main characters are actually children in an orphanage. This would explain, in part, the deep rooted parental issues, betrayal and abandonment. It would also feed the persistent character trait of personal loneliness. Children in an orphanage would naturally dream intense fantasies because they believe their current lives are dark and lonely.
Second, that the characters are in a coma state - - - either as a result of accidents or as part of grand scientific research experiment. The latter would tie into the Dharma experimentation in mind control and manipulation of unique energy systems. The human brain is the most complex energy system in the planet; and one which most mainstream science still does not fully understand. By containing the brains of diverse individuals in a deep control group (such as in a coma state), the researchers could feed their minds with various scenarios to see how they react. For example, inject the terror of a mysterious smoke monster into their minds to see how they would process that information in their patient's dreams.
Third, that the characters were actually "awake" but in a virtual reality that was the island. This could also be an experiment on how the brain works in regard to virtual soldier technology. We know that the defense department and government agencies have used virtual reality systems to train soldiers for combat missions. This would be a leap forward in technology, almost Avatar like, dealing with missions in real time. Perhaps in the future, as referenced in an old Star Trek episode, wars would be fought by soldiers in a virtual reality setting, to avoid the human pain and suffering of real warfare.
But if the characters were participants in this virtual combat world, why would they not "remember" it. If the technology was sufficient to implant the game program into their minds, it probably would have been just as easy as to erase or block those memories once the characters were no longer needed in the experiment.
So the concept of awakening in the series had to mean that the characters woke up or remembered something critical in their past (i.e. the island). After losing their conscious to a virtual dream world called the island, the characters were put back into normal situations to live normal lives as shown in the sideways world. Now this would work perfectly as a reasonable explanation of the entire series except for one critical plot detail. In the sideways world, everyone was dead.
This gets us back to the last definition of the word: to become aware of a realization.
I have thought for a long time that knowledge is power. If one knew what was going on at any moment in time, they could control their own destiny. Early on, I thought that Rose became fully aware of what the island really was because the pain of her incurable cancer was gone after the plane crash. Rose became aware on the beach that she had died in the plane crash. That is why she thought everything would be alright; that she would meet up with her husband soon.
This is also why Rose and Bernard later broke away from the survivors and their dramas with the island inhabitants. They knew that what they were up to was not "real." Rose and Bernard wanted to keep to themselves so they could enjoy the "extended time" they were granted, together.
It would also explain why we did not see Rose and Bernard "awaken" in the sideways world. They did not have to awaken. They already knew of their deaths while on the island. It would seem that all the LOST souls had to awaken by themselves - - - and once each individual came to the realization that they were actually dead, could their souls move on in the after life (as depicted at the ending of the sideways church scenes).
Everything up to that point was the individual's subconscious not wanting to let go with "life." It was fueled by the regrets of the characters; the things they never experienced in their life (such as Hurley finding a true love in Libby). Somehow, some one gave these lost souls the opportunity to live a second life on the island in order to experience those past events and maybe soothe their regrets.
If that is the case, then Jacob would be more like Clarence from It's a Wonderful Life than the Devil. He brought the people to the island. And the island gave them a second chance to find trust, love, friendship and a sense of purpose. It gave those lost souls a second chance before final judgment.
Sunday, November 24, 2013
PERCEPTION
"Perception is reality."
It is a common phrase.
Perception is the the ability to see, hear, or become aware of something through the senses: the normal limits to human perception. It is the state of being or process of becoming aware of something in such a way, such as the perception of pain. It is a way of regarding, understanding, or interpreting something through a mental impressions It also means having intuitive understanding and insight.
In science, it is the neurophysiological processes, including memory, by which an organism becomes aware of and interprets external stimuli.
The word itself comes from Old Middle English for "seize, understand."
Reality is the world or the state of things as they actually exist, as opposed to an idealistic or notional idea of them. It is a thing that is actually experienced or seen, esp. when this is grim or problematic. Reality is a thing that exists in fact, having previously only existed in one's mind such as the paperless office may yet become a reality. It can also mean the quality of being lifelike or resembling an original. It is also the state or quality of having existence or substance such as death has no reality to young people.
In Philosophy, reality is an existence that is absolute, self-sufficient, or objective, and not subject to human decisions or conventions.
So, how a person sees, hears, or becomes aware of the world around him is his reality.
This is the foundation for the LOST mythology. Viewers has to use their own perception of the images and events on the screen to filter through their own experience and understanding to interpret the show for personal meaning and insight. This is why it is difficult to change a LOST viewer's mind on how they reacted or felt about the show. In a show about light and dark, there were no black and white answers.
Whether the island was actually a Pacific Island, or vegetation atop of alien tortoise, or a space ship, or a time vortex, or another dimension, it cannot set in stone.
Whether the characters were actually who they said they were is also open to debate. Were the characters "real" lives in the sideways world, and they dreamed of island adventures, or was it the other way around? Was Sawyer always a police officer who dreamed of being the bad guy? Was Hurley always a lottery millionaire or was he just a chicken fry cook who dreamed of being a millionaire?
LOST writers did not set down a set of story principles as authority; incontrovertibly truths. As a result, we are left with any perception as reality.
It is a common phrase.
Perception is the the ability to see, hear, or become aware of something through the senses: the normal limits to human perception. It is the state of being or process of becoming aware of something in such a way, such as the perception of pain. It is a way of regarding, understanding, or interpreting something through a mental impressions It also means having intuitive understanding and insight.
In science, it is the neurophysiological processes, including memory, by which an organism becomes aware of and interprets external stimuli.
The word itself comes from Old Middle English for "seize, understand."
Reality is the world or the state of things as they actually exist, as opposed to an idealistic or notional idea of them. It is a thing that is actually experienced or seen, esp. when this is grim or problematic. Reality is a thing that exists in fact, having previously only existed in one's mind such as the paperless office may yet become a reality. It can also mean the quality of being lifelike or resembling an original. It is also the state or quality of having existence or substance such as death has no reality to young people.
In Philosophy, reality is an existence that is absolute, self-sufficient, or objective, and not subject to human decisions or conventions.
So, how a person sees, hears, or becomes aware of the world around him is his reality.
This is the foundation for the LOST mythology. Viewers has to use their own perception of the images and events on the screen to filter through their own experience and understanding to interpret the show for personal meaning and insight. This is why it is difficult to change a LOST viewer's mind on how they reacted or felt about the show. In a show about light and dark, there were no black and white answers.
Whether the island was actually a Pacific Island, or vegetation atop of alien tortoise, or a space ship, or a time vortex, or another dimension, it cannot set in stone.
Whether the characters were actually who they said they were is also open to debate. Were the characters "real" lives in the sideways world, and they dreamed of island adventures, or was it the other way around? Was Sawyer always a police officer who dreamed of being the bad guy? Was Hurley always a lottery millionaire or was he just a chicken fry cook who dreamed of being a millionaire?
LOST writers did not set down a set of story principles as authority; incontrovertibly truths. As a result, we are left with any perception as reality.
Friday, September 27, 2013
DISASSOCIATION
There has been a trend in Japanese society where its youth disassociate themselves from their culture to escape into their own fantasy worlds, such as anime. It may be based upon economic conditions, the lack of work, or burn out from educational stresses to pass exams. America had a similar bout with a "drop out" culture.
While this may be a temporary delay in finding oneself, it does have the possibility to create self-delusion. While extreme self-delusion within literature certainly dates back to at least Miguel de Cervantes’s 1605 novel Don Quixote, the recent prominence of anime that specifically concentrate on the the tendency of Japanese youth to disassociate with reality or create false personas has to be accepted as a deliberate observation of an existing trend. People are trying to find out what is motivating Japanese youth to disengage from everyday reality. Is it willful psychological disassociation? Or is illustrating real-world causes and impacts to a teen's cognitive disassociation?
As a matter of social commentary, LOST did not hit the big pivot points like poverty, environmental issues or morality. Since TPTB keep saying that it was all about the study of the characters and character development, it may mirror the functional disassociation within American society norms.
The series did contain more than one psychopath. The unyielding quest for unmentioned and unobtainable power drove many characters like Ben and Widmore into killing rampages. Megalomania is a form of psychological transference of one's meek reality into some grand self-righteous plan (usually with the tenor of a destiny or a righteous position to uphold). When Ben kept telling us he was one of "the good guys," did we ever believe his banter?
Many of the characters were disillusioned by their mainland lives. Collectively, most of them were going no where fast. There was no mention of an American Dream goal. And even if they had a chance to start one, like Kate in Florida with her husband, she screwed it up and fled at the first hint of trouble. Criminals have a built-in distaste to follow the norm placed on individuals in society. Likewise, creative people seek to break the normalcy to shock people into recognizing their self-belief genius. Some succeed, but most fail. It used to be that failure was a good thing (you would learn more from your mistakes) but in the new uber-competitive sports culture, failure is no longer an option. You have Tiger Moms creating home educational sweatshops so their child can get into the "best" schools. You have Soccer Moms treating their athlete kids like full time professional ball players. Society's value system can easily be skewed from generation to generation.
The island really had no value system. It did not value life over death. It did not value trust over distrust. It did not value success over failure. If the island was a brain of a teenager, it would be an apathetic, escapist video game console.
What is really sad is that the characters in LOST thought that their miserable time on the island "was the most important part of their lives." How shallow and desperate is that conclusion? The prospect of being killed in a horrible place trapped by monsters and demons was more appealing than an American middle class upbringing to the freedom of young adulthood?
The island did give some characters the ability to "re-create" themselves in their fantasy images, such as Locke as the outback survivalist. But it also allowed others such as Kate to re-stage herself as the "girl next store" flirt to cover her criminal secrets. Both Locke and Kate disassociated themselves from normal society long before they landed on the island. In some respects, they had already given up their lives prior to the crash. They did not take the crash as an opportunity to change their lives, but to fantasize what could have been. Escape to an island where one's own perceived genius and wit can outsmart and out maneuver anything that comes in your way is a compelling fantasy scenario for those persons who have lost their will to become a productive member of society.
While this may be a temporary delay in finding oneself, it does have the possibility to create self-delusion. While extreme self-delusion within literature certainly dates back to at least Miguel de Cervantes’s 1605 novel Don Quixote, the recent prominence of anime that specifically concentrate on the the tendency of Japanese youth to disassociate with reality or create false personas has to be accepted as a deliberate observation of an existing trend. People are trying to find out what is motivating Japanese youth to disengage from everyday reality. Is it willful psychological disassociation? Or is illustrating real-world causes and impacts to a teen's cognitive disassociation?
As a matter of social commentary, LOST did not hit the big pivot points like poverty, environmental issues or morality. Since TPTB keep saying that it was all about the study of the characters and character development, it may mirror the functional disassociation within American society norms.
The series did contain more than one psychopath. The unyielding quest for unmentioned and unobtainable power drove many characters like Ben and Widmore into killing rampages. Megalomania is a form of psychological transference of one's meek reality into some grand self-righteous plan (usually with the tenor of a destiny or a righteous position to uphold). When Ben kept telling us he was one of "the good guys," did we ever believe his banter?
Many of the characters were disillusioned by their mainland lives. Collectively, most of them were going no where fast. There was no mention of an American Dream goal. And even if they had a chance to start one, like Kate in Florida with her husband, she screwed it up and fled at the first hint of trouble. Criminals have a built-in distaste to follow the norm placed on individuals in society. Likewise, creative people seek to break the normalcy to shock people into recognizing their self-belief genius. Some succeed, but most fail. It used to be that failure was a good thing (you would learn more from your mistakes) but in the new uber-competitive sports culture, failure is no longer an option. You have Tiger Moms creating home educational sweatshops so their child can get into the "best" schools. You have Soccer Moms treating their athlete kids like full time professional ball players. Society's value system can easily be skewed from generation to generation.
The island really had no value system. It did not value life over death. It did not value trust over distrust. It did not value success over failure. If the island was a brain of a teenager, it would be an apathetic, escapist video game console.
What is really sad is that the characters in LOST thought that their miserable time on the island "was the most important part of their lives." How shallow and desperate is that conclusion? The prospect of being killed in a horrible place trapped by monsters and demons was more appealing than an American middle class upbringing to the freedom of young adulthood?
The island did give some characters the ability to "re-create" themselves in their fantasy images, such as Locke as the outback survivalist. But it also allowed others such as Kate to re-stage herself as the "girl next store" flirt to cover her criminal secrets. Both Locke and Kate disassociated themselves from normal society long before they landed on the island. In some respects, they had already given up their lives prior to the crash. They did not take the crash as an opportunity to change their lives, but to fantasize what could have been. Escape to an island where one's own perceived genius and wit can outsmart and out maneuver anything that comes in your way is a compelling fantasy scenario for those persons who have lost their will to become a productive member of society.
Thursday, September 19, 2013
FAVORITES
Every viewer had their own favorite character. That is the charm of an ensemble cast. There will someone you can identify with even if that character is secondary or in the background. For example, a few teachers immediately gravitated toward Artz on a professional level. But the series was not kind to his purported knowledge of dynamite.
If there was a consensus of the most popular characters, it probably would be:
1. Hurley. Just like in the original Survivor series, the happy-go-lucky Rupert, who was not into the back stabbing politics of the game, came off more likeable and friendly, Hurley was the de facto eyes and ears of the fans within series. He was our proxy. We could identify with his reserved demeanor. We could understand his cultural references and his humor. He did not have any hidden agendas or bad intentions against any of his fellow castaways.
2. Ben. It may have been Michael Emerson's intense big eyed but stoic acting style, but Ben became a fan favorite by his cunning manipulation of the castaways. People like good, evil characters. Ben embodied all the traits of a great villain: cruelty, intelligence, warped sense of purpose, absolute authority and Machiavellian principles. Ben's immediate popularity took a three show guest shot into a full time character that made it to the end.
3. Desmond. For some reason, the hopelessness of Desmond's lost love turned many women viewers into die hard Dez fans. The Penny-Desmond love story was a highlight moment for many when Desmond finally connected with Penny on the freighter radio. Despite her father's interference and Desmond's lack of confidence, they were meant to be together. It was a classic princess and the pauper story line. Despite all the obstacles, Desmond would be reunited with the love of his life.
4. Ford. Then female fans also were attracted to the series "bad boy," Sawyer. There is something about a good looking, charming, rebellious man that sparks imagination in women. It is a cultural constant since the 1950s with James Dean. It is an American fairy tale of the loner underdog who society believes has no future, finds one with an innocent lovely girl-next-door.
5. Jack. Nearly half of the fans believe the LOST series was all about Jack. It started and ended with the heroic doctor. He was smart, skilled, practical and handsome. He took charge of the beach like an ER triage. People are drawn toward powerful men because most people believe they have little control over their own lives. Jack became the focal point for the main characters because of his character's low key leadership. Since Jack became a story focal point, fans of the series made Jack their focal point. So why is Jack in fifth place? Because some Jack fans thought the heroic doctor's change in the O6 arc (into the drug induced, suicidal cry baby) ruined the character for them. And when Jack returned to the island to become a meek, non-action figure like Ben's janitorial father, it lost even more fan support. Then there were the neutral Jack supporters who lost it in the last episode that tried to wrap up the series at Jack's father's funeral in the after life.
If there was a consensus of the most popular characters, it probably would be:
1. Hurley. Just like in the original Survivor series, the happy-go-lucky Rupert, who was not into the back stabbing politics of the game, came off more likeable and friendly, Hurley was the de facto eyes and ears of the fans within series. He was our proxy. We could identify with his reserved demeanor. We could understand his cultural references and his humor. He did not have any hidden agendas or bad intentions against any of his fellow castaways.
2. Ben. It may have been Michael Emerson's intense big eyed but stoic acting style, but Ben became a fan favorite by his cunning manipulation of the castaways. People like good, evil characters. Ben embodied all the traits of a great villain: cruelty, intelligence, warped sense of purpose, absolute authority and Machiavellian principles. Ben's immediate popularity took a three show guest shot into a full time character that made it to the end.
3. Desmond. For some reason, the hopelessness of Desmond's lost love turned many women viewers into die hard Dez fans. The Penny-Desmond love story was a highlight moment for many when Desmond finally connected with Penny on the freighter radio. Despite her father's interference and Desmond's lack of confidence, they were meant to be together. It was a classic princess and the pauper story line. Despite all the obstacles, Desmond would be reunited with the love of his life.
4. Ford. Then female fans also were attracted to the series "bad boy," Sawyer. There is something about a good looking, charming, rebellious man that sparks imagination in women. It is a cultural constant since the 1950s with James Dean. It is an American fairy tale of the loner underdog who society believes has no future, finds one with an innocent lovely girl-next-door.
5. Jack. Nearly half of the fans believe the LOST series was all about Jack. It started and ended with the heroic doctor. He was smart, skilled, practical and handsome. He took charge of the beach like an ER triage. People are drawn toward powerful men because most people believe they have little control over their own lives. Jack became the focal point for the main characters because of his character's low key leadership. Since Jack became a story focal point, fans of the series made Jack their focal point. So why is Jack in fifth place? Because some Jack fans thought the heroic doctor's change in the O6 arc (into the drug induced, suicidal cry baby) ruined the character for them. And when Jack returned to the island to become a meek, non-action figure like Ben's janitorial father, it lost even more fan support. Then there were the neutral Jack supporters who lost it in the last episode that tried to wrap up the series at Jack's father's funeral in the after life.
Sunday, September 8, 2013
LOST RANKS 5TH IN SCI FI SHOWS
LOST, according to a website called Newsarama, ranked the 5th best Sci-Fi TV show in history. It ranked behind Dr. Who, Star Trek, Battlestar Gallactica, and Twilight Zone/Outer Limits.
Complain all you want about the finale, we're here to tell you something: not all questions ever need to be answered and no one owes you anything.
Part of the majesty of Lost was that it did dare to raise questions and challenge assumptions in an age where TV is seemingly ruled by a vast armada of reality TV.
Lost was unreality TV, charging headlong into time travel, alternate realities, smoke monsters and more with abandon. Not every viewer may have been totally satisfied, but one can hardly dispute the totality of vision and the flair with which the creators, cast, and crew pulled it off. Plus, polar bears.
This short ranking justification calls out fans who did not like the conclusion of the series. The argument that the greatest of LOST was that it was anti-reality TV.
But the argument loses most value when one looks at the shows ranked higher in its own list. Dr. Who has a set of core principles including explanation of time travel and parallel universes which now has been kept in tact for 50 years. Star Trek had an intense amount of rules explaining its core scientific-fiction principles such was what was warp drive, the transporter, the holodeck, etc. Even Data's brain was explained by the extrapolation of supercomputing technologies. Battlestar also had its own universe principles on how things operated, who were the good guys, who were the bad guys. And the Twilight Zone boiled down the bizarre into understandable and believable short stories. All of these programs gave the viewers answers and explanations to the issue presented in each episode.
“ Knowledge comes by taking things apart: analysis. But wisdom comes by putting things together. ”
— John A. Morrison
This quote is what the LOST blogs, commentators and fans embraced between episodes. TPTB made comments that they were aware of the fan analysis and theories. The expectations were that TPTB would address most of the most basic questions. Without knowledge, there is no wisdom.
Complain all you want about the finale, we're here to tell you something: not all questions ever need to be answered and no one owes you anything.
Part of the majesty of Lost was that it did dare to raise questions and challenge assumptions in an age where TV is seemingly ruled by a vast armada of reality TV.
Lost was unreality TV, charging headlong into time travel, alternate realities, smoke monsters and more with abandon. Not every viewer may have been totally satisfied, but one can hardly dispute the totality of vision and the flair with which the creators, cast, and crew pulled it off. Plus, polar bears.
This short ranking justification calls out fans who did not like the conclusion of the series. The argument that the greatest of LOST was that it was anti-reality TV.
But the argument loses most value when one looks at the shows ranked higher in its own list. Dr. Who has a set of core principles including explanation of time travel and parallel universes which now has been kept in tact for 50 years. Star Trek had an intense amount of rules explaining its core scientific-fiction principles such was what was warp drive, the transporter, the holodeck, etc. Even Data's brain was explained by the extrapolation of supercomputing technologies. Battlestar also had its own universe principles on how things operated, who were the good guys, who were the bad guys. And the Twilight Zone boiled down the bizarre into understandable and believable short stories. All of these programs gave the viewers answers and explanations to the issue presented in each episode.
“ Knowledge comes by taking things apart: analysis. But wisdom comes by putting things together. ”
— John A. Morrison
This quote is what the LOST blogs, commentators and fans embraced between episodes. TPTB made comments that they were aware of the fan analysis and theories. The expectations were that TPTB would address most of the most basic questions. Without knowledge, there is no wisdom.
Tuesday, June 25, 2013
MEET KEVIN, DISSECT KEVIN'S STORY
"Meet Kevin Johnson" was one of those strange episodes that started a twisted plot arc but turned into a braided contextual nightmare.
The character of Michael started off as a man dispossessed of his new born son. It was a contrast to the other characters "daddy issues" when in fact Michael at least tried to have a relationship with Walt, but his mother and her career separated any normal family setting. As a failed artist and kicking around from job to job, Michael could not stand in the (economic) way for Walt to have a better life. It is clear that Walt resented the fact he grew up without his "real" father. But Walt never understood that it was his mother who pushed them away. It is also clear that Michael "regretted" that he gave up with parental rights to Walt.
Walt grew up moving from country to country. It appears he did not make friends. When his mother died, his adoptive father abandoned him (which legally and morally he could not do) back to Michael, who assumed the responsibility to take care of his son, though he had no legal or moral obligation to do so. This sets up the odd relationship for Walt: two fathers, two prior abandonments, and an uncertain future.
So when Michael is bringing Walt back the the United States, both are on edge. Both do not how to communicate with each other because they were strangers. So what better "bonding" experience than surviving a plane crash and camping on an island with deadly smoke monsters and murderous Others?
Michael's overriding obsession is to get off the island and rescue his son. He does it by building a raft, but that leads to Walt being captured by the Others. He does it by making a deal with the Others to get Ben out of the Hatch prison in exchange for safe passage off the island. In executing the deal, Michael kills Ana Lucia and Libby. When he arranges for a posse to get their "killer" and to save Walt, Michael betrays his own people (Jack, Kate, Sawyer and Hurley) and gives them up to the Others. At the dock, Michael is rewarded with a boat and passage off the island. To the stunned silence of the 815ers, Michael receives instructions from Ben to take the boat and follow a bearing of 325, so both he and his son can find rescue. They leave the island and their "friends" at the hands of a recently tortured Ben and his group.
The structure of Michael's sub-plot story followed the traditional literary paths. There was a beginning, conflict, a middle, a reunion, then heartbreak tearing a part, then a dangerous climax to the resolution Michael had hoped for - - - getting off the island with his son. Michael's story and role in LOST should have ended there, in Season 4. His character did change: from anguished father letting go of his son to a murderous protector of his son against adverse odds. In Michael's mind, the ends justified the means, which was standard operating procedure for many of the Island's characters. People may not like what Michael did, but there was some logical basis for his actions.
The end of Michael's island time did give us a few key points. First, apparently Ben is a man of his word. Since Mrs. Klugh made a deal with Michael, he would honor it. (Or would he?) Second, despite Desmond's claim that the Island was in "a bloody snow globe" and there was no way back to civilization, Ben told Michael to use bearing 325 to get home. Third, there is a foreshadowing of the importance of "lists," especially in the realm of Jacob's candidates. The four 815ers brought to the dock as payment for Walt were all candidates. It is unclear whether Ben ever knew who were candidates or what Jacob's grand plan for everyone, but it could be that Ben took his captives to "test them" on behalf of either Jacob or MIB. Could they be corrupted?
So the end of Michael's island story end gave us several important clues into the Island, the ability to leave the island, and the militaristic honor among the Others.
But then the reincorporation of Michael into the series led to major story structural problems.
One could understand Walt's rejection of Michael once Walt was told the cost of their freedom (two lives and four friends being held captive). But it does not explain Michael's need to return to the Island.
Once rejected by Walt, Michael goes on a downward spiral (much like Jack would do when he leaved the island with the O6). He is distraught and cannot live with the fact he killed two women. He is now estranged from Walt because of those actions. He writes a note to Walt, gets into his car, and at very high speed crashes into a shipping container. Instead of dying, he wakes in the hospital only to find that his nurse is dead Libby. He screams, and then truly awakens but refuses to answer anyone's question of what happened to him. After his release, Michael trades Jin's watch for a hand gun. He goes into an alley to shoot himself, but is interrupted by Mr. Friendly. Michael demands that Mr. Friendly, Tom, shoot him. But Tom replies "the island is not done" with Michael. Tom says Michael "still has work to do" (which is the same line Tall Walt gives a shot Locke when he is lying in the purge mass grave). A short time later, Michael tries to commit suicide in his apartment but the gun does not work. We are lead to believe that it is the Island intervention. Then Michael sees a news report that the remains of Flight 815 was found with confirmation that all 324 passengers and crew had perished in the crash.
Michael goes to see Tom. Tom explains to Michael that the television report was wrong. Widmore had created a fake crash site in order to keep the island to himself. Michael demands proof, and Tom calmy shows him files of exhumed graves, plane receipts and official looking documentation (which has the eerie vibe of a Sawyer con job). Michael is told that Widmore's plan is to send a force to the island and kill everyone on it.
Tom gives Michael an offer. He can get on the freighter as a crew member and stop Widmore from killing everyone on the island. Michael asks why he should do it, and Tom reminds him that this would be a chance to redeem himself for the actions he took on the island. Tom says that Michael will not return to the island, but destroy the freighter and everyone on board. He is handed a passport and an alias, Kevin Johnson.
In this set-up, we are led to believe many improbable and impossible factors. First, that Ben and the Others kept minute tabs on Michael after he left the island. There was no reason to do so. Michael was never going back to the island, or disclose its location because that would admit his guilt in two murders. If Ben thought Michael was a threat, then he should have let Michael commit suicide. Problem solved. Second, that the Island is a supernatural power that intervenes to stop Michael's numerous suicide attempts. How? Why? So in Season 4, the TPTB basically tells us that the Island and its premise was just one big McGuffin? Third, how gullible are Michael and the viewers to believe that a detailed oriented man like Widmore who could fake a plane crash would not check every crew member on his freighter's mission to seize the Island? It is not credible that Ben could "sneak" his own agent on board Widmore's freighter. Fourth, we were told that no one could find the island so why would Michael believe the freighter could? Also, there were more "loyal" soldiers in the Others camp to be the saboteur than Michael.
Once on the boat, Michael realizes that Widmore's crew is filled with soldiers who plan on killing the island inhabitants. This is not a rescue mission as helicopter pilot Frank told him. Back in his room, Michael opens his crate and finds a case in it. He takes the case to the engine room and finds a bomb inside. Michael inputs the combination for the bomb, but hesitates to push the EXECUTE button to set off the bomb. Suddenly, he hears the same Mama Cass song he was listening to in the car when he tried to commit suicide. He sees another vision of Libby who tells him not to do it, and then disappears. Michael says, "I love you, Walt" and pushes the button. The bomb's 15-second timer expires, but the bomb doesn't explode. Instead, a flag pops up with a note around it which reads "NOT YET."
This scene adds another thick layer of disbelief. It should never matter where the freighter exploded so long as it never reaches the island. The non-explosion was a mean trick on the viewers to add suspense then not deliver (in the hope of adding more filler). The scene also adds to the growing visions of dead people within the series. It strengthens the evidence that the characters are not in the real world but in supernatural place where dead souls reside and interact.
We are then included into another layer of a con. When Michael is taken to the radio room to take a call from "Walt," Michael rushes in to speak to his son (even though we know Walt has no idea where Michael is or how to contact him). For some reason, Michael thinks Walt is on the line. Ben informs Michael there are innocent people on the freighter, and that the plan was never to kill them all, because Ben isn't "that kind of person." He says he gave the fake bomb to Michael to show that unlike Widmore, he does not want to kill innocents. Ben then orders Michael to get him a list of everyone on board, report the list back to him, and then disable both the radio and engine so that the ship cannot get to the Island. Michael is obviously shaken up, but Ben tells him that he can now consider himself "one of the good guys."
We know Ben is a master liar and manipulator. We can tell that Ben is using Michael to do his dirty work. But if Ben truly wanted no one to reach the island, then he should have given Michael those instructions to disable the freighter from the beginning instead of the fake bomb. And the need for a freighter list seems to be an excessive-compulsive waste of time. It gets further unnecessarily complicated when the helicopter lands on the island, and Desmond and Sayid go to the freighter. In the simple scheme of not allowing anyone on or off the island, Ben has made a huge mess of it. Unless, Ben himself is being manipulated by Jacob who really wants to bring new people to the island for his game with MIB. (Which would make some sense since we were told ONLY Jacob had the power to bring people to the island.)
Later, Sayid and Desmond find Michael in the engine room and confront him about why he is on the boat. Michael tells his story about being Ben's "man on the boat." When he learns Michael is working for Ben. Sayid grabs Michael and drags him into Captain Gault's room, revealing Michael's true identity as the saboteur, a spy, a traitor, and a survivor of Oceanic 815. This action pushes two sets of dangerous dominoes into motion. It disrupts Ben's plan to thwart Widmore's forces from getting to the island. It also sets into motion the safe passage of the soldiers to the island to confront Ben.
Ben has to give up his secrecy when his plan begins to fall a part. Locke takes a leadership role.
Locke holds a meeting with everyone at the Barracks to share information. Miles confirms the people from the freighter are after Ben. Sawyer suggests they just turn Ben over to the freighter people. Ben says the orders of the freighter people are to capture him, then kill everyone else on the Island; Miles does not deny it.
Ben persuades Alex to go to a location he calls "the Temple" with Karl and Danielle, and tells her the rest of the Others are already there. He provides them with a map. Ben tells Alex she is in danger because the people who are coming to the Island will use her to get to him. He assures her that her mother will protect them. He is dead wrong.
Some time into their journey, Danielle, Alex, and Karl take a break. Sudden gunfire erupts from the jungle and Karl is shot in the chest. Danielle and Alex hide behind a tree and quickly decide they need to make a run for it. They get to their feet, but Danielle is immediately hit by gunfire and falls to the ground. Alex stands up, puts her hands in the air and yells, "I'm Ben's daughter!"
This episode is one where everything goes wrong from its stated purpose. Michael's voyage of redemption has turned into a savage murderous spectacle. Michael's failure to stop the freighter (which was part of Ben's disjointed plan) caused the deaths of many more innocent people. The fate of the innocent were sealed when Sayid betrayed Michael like Michael had done to the 815ers. Michael was played for the fool by everyone.
From a failed artist, to construction worker, then to sailboat builder, to freighter engine expert to finally alleged bomb detention specialist, Michael's skill set continued to grow beyond belief when the story line needed some authoritative explanation. The more grand Michael's expertise grew in the series, the more the show stumbled toward pure fantasy over even science fiction. Especially in the end, when ghost Christian, speaking as the Island, allows Michael to end his life by allowing the jury and scientifically inaccurate bomb device, to blow up the freighter.
The last thing Kevin Johnson gave the story was the ghost meeting with Hurley near the end of the series. Michael tells Hurley that he is a whisper, a ghost, trapped on the island. Michael accepts his fate to be trapped as a lost soul on the island. However, this conclusion runs contrary to what happens to Ben. Ben did more heinous things on and off the island than Michael did, yet Ben was "rewarded" by continuing to live on the island and then later going to the sideways world to being his after life.
It is one of the great problems with LOST. It set forth canon about "rules," but never explained them or even followed them consistently from character to character. The uneven application of the rules weakens the story foundation for the series. Why would Michael have to remain a ghost on the island for eternity while Ben and other evil people get a second, third or fourth chance at redemption?
The idea that Michael was not "ready" to move on is also suspect because Ben himself states the same thing Hurley outside the church. The concept that Michael needed to re-connect in his own sideways world with Walt also has no basis because Michael was not a part of the sideways world. We are not shown any tangible proof that Michael had the ability to create his own purgatory realm. He may never had a chance because Hurley was going to shut down the island operations. Just as Walt was abandoned by his fathers, Michael's character was abandoned by the writers. And Michael was not alone in the inconsistent treatment and altered resolutions of many characters.
The character of Michael started off as a man dispossessed of his new born son. It was a contrast to the other characters "daddy issues" when in fact Michael at least tried to have a relationship with Walt, but his mother and her career separated any normal family setting. As a failed artist and kicking around from job to job, Michael could not stand in the (economic) way for Walt to have a better life. It is clear that Walt resented the fact he grew up without his "real" father. But Walt never understood that it was his mother who pushed them away. It is also clear that Michael "regretted" that he gave up with parental rights to Walt.
Walt grew up moving from country to country. It appears he did not make friends. When his mother died, his adoptive father abandoned him (which legally and morally he could not do) back to Michael, who assumed the responsibility to take care of his son, though he had no legal or moral obligation to do so. This sets up the odd relationship for Walt: two fathers, two prior abandonments, and an uncertain future.
So when Michael is bringing Walt back the the United States, both are on edge. Both do not how to communicate with each other because they were strangers. So what better "bonding" experience than surviving a plane crash and camping on an island with deadly smoke monsters and murderous Others?
Michael's overriding obsession is to get off the island and rescue his son. He does it by building a raft, but that leads to Walt being captured by the Others. He does it by making a deal with the Others to get Ben out of the Hatch prison in exchange for safe passage off the island. In executing the deal, Michael kills Ana Lucia and Libby. When he arranges for a posse to get their "killer" and to save Walt, Michael betrays his own people (Jack, Kate, Sawyer and Hurley) and gives them up to the Others. At the dock, Michael is rewarded with a boat and passage off the island. To the stunned silence of the 815ers, Michael receives instructions from Ben to take the boat and follow a bearing of 325, so both he and his son can find rescue. They leave the island and their "friends" at the hands of a recently tortured Ben and his group.
The structure of Michael's sub-plot story followed the traditional literary paths. There was a beginning, conflict, a middle, a reunion, then heartbreak tearing a part, then a dangerous climax to the resolution Michael had hoped for - - - getting off the island with his son. Michael's story and role in LOST should have ended there, in Season 4. His character did change: from anguished father letting go of his son to a murderous protector of his son against adverse odds. In Michael's mind, the ends justified the means, which was standard operating procedure for many of the Island's characters. People may not like what Michael did, but there was some logical basis for his actions.
The end of Michael's island time did give us a few key points. First, apparently Ben is a man of his word. Since Mrs. Klugh made a deal with Michael, he would honor it. (Or would he?) Second, despite Desmond's claim that the Island was in "a bloody snow globe" and there was no way back to civilization, Ben told Michael to use bearing 325 to get home. Third, there is a foreshadowing of the importance of "lists," especially in the realm of Jacob's candidates. The four 815ers brought to the dock as payment for Walt were all candidates. It is unclear whether Ben ever knew who were candidates or what Jacob's grand plan for everyone, but it could be that Ben took his captives to "test them" on behalf of either Jacob or MIB. Could they be corrupted?
So the end of Michael's island story end gave us several important clues into the Island, the ability to leave the island, and the militaristic honor among the Others.
But then the reincorporation of Michael into the series led to major story structural problems.
One could understand Walt's rejection of Michael once Walt was told the cost of their freedom (two lives and four friends being held captive). But it does not explain Michael's need to return to the Island.
Once rejected by Walt, Michael goes on a downward spiral (much like Jack would do when he leaved the island with the O6). He is distraught and cannot live with the fact he killed two women. He is now estranged from Walt because of those actions. He writes a note to Walt, gets into his car, and at very high speed crashes into a shipping container. Instead of dying, he wakes in the hospital only to find that his nurse is dead Libby. He screams, and then truly awakens but refuses to answer anyone's question of what happened to him. After his release, Michael trades Jin's watch for a hand gun. He goes into an alley to shoot himself, but is interrupted by Mr. Friendly. Michael demands that Mr. Friendly, Tom, shoot him. But Tom replies "the island is not done" with Michael. Tom says Michael "still has work to do" (which is the same line Tall Walt gives a shot Locke when he is lying in the purge mass grave). A short time later, Michael tries to commit suicide in his apartment but the gun does not work. We are lead to believe that it is the Island intervention. Then Michael sees a news report that the remains of Flight 815 was found with confirmation that all 324 passengers and crew had perished in the crash.
Michael goes to see Tom. Tom explains to Michael that the television report was wrong. Widmore had created a fake crash site in order to keep the island to himself. Michael demands proof, and Tom calmy shows him files of exhumed graves, plane receipts and official looking documentation (which has the eerie vibe of a Sawyer con job). Michael is told that Widmore's plan is to send a force to the island and kill everyone on it.
Tom gives Michael an offer. He can get on the freighter as a crew member and stop Widmore from killing everyone on the island. Michael asks why he should do it, and Tom reminds him that this would be a chance to redeem himself for the actions he took on the island. Tom says that Michael will not return to the island, but destroy the freighter and everyone on board. He is handed a passport and an alias, Kevin Johnson.
In this set-up, we are led to believe many improbable and impossible factors. First, that Ben and the Others kept minute tabs on Michael after he left the island. There was no reason to do so. Michael was never going back to the island, or disclose its location because that would admit his guilt in two murders. If Ben thought Michael was a threat, then he should have let Michael commit suicide. Problem solved. Second, that the Island is a supernatural power that intervenes to stop Michael's numerous suicide attempts. How? Why? So in Season 4, the TPTB basically tells us that the Island and its premise was just one big McGuffin? Third, how gullible are Michael and the viewers to believe that a detailed oriented man like Widmore who could fake a plane crash would not check every crew member on his freighter's mission to seize the Island? It is not credible that Ben could "sneak" his own agent on board Widmore's freighter. Fourth, we were told that no one could find the island so why would Michael believe the freighter could? Also, there were more "loyal" soldiers in the Others camp to be the saboteur than Michael.
Once on the boat, Michael realizes that Widmore's crew is filled with soldiers who plan on killing the island inhabitants. This is not a rescue mission as helicopter pilot Frank told him. Back in his room, Michael opens his crate and finds a case in it. He takes the case to the engine room and finds a bomb inside. Michael inputs the combination for the bomb, but hesitates to push the EXECUTE button to set off the bomb. Suddenly, he hears the same Mama Cass song he was listening to in the car when he tried to commit suicide. He sees another vision of Libby who tells him not to do it, and then disappears. Michael says, "I love you, Walt" and pushes the button. The bomb's 15-second timer expires, but the bomb doesn't explode. Instead, a flag pops up with a note around it which reads "NOT YET."
This scene adds another thick layer of disbelief. It should never matter where the freighter exploded so long as it never reaches the island. The non-explosion was a mean trick on the viewers to add suspense then not deliver (in the hope of adding more filler). The scene also adds to the growing visions of dead people within the series. It strengthens the evidence that the characters are not in the real world but in supernatural place where dead souls reside and interact.
We are then included into another layer of a con. When Michael is taken to the radio room to take a call from "Walt," Michael rushes in to speak to his son (even though we know Walt has no idea where Michael is or how to contact him). For some reason, Michael thinks Walt is on the line. Ben informs Michael there are innocent people on the freighter, and that the plan was never to kill them all, because Ben isn't "that kind of person." He says he gave the fake bomb to Michael to show that unlike Widmore, he does not want to kill innocents. Ben then orders Michael to get him a list of everyone on board, report the list back to him, and then disable both the radio and engine so that the ship cannot get to the Island. Michael is obviously shaken up, but Ben tells him that he can now consider himself "one of the good guys."
We know Ben is a master liar and manipulator. We can tell that Ben is using Michael to do his dirty work. But if Ben truly wanted no one to reach the island, then he should have given Michael those instructions to disable the freighter from the beginning instead of the fake bomb. And the need for a freighter list seems to be an excessive-compulsive waste of time. It gets further unnecessarily complicated when the helicopter lands on the island, and Desmond and Sayid go to the freighter. In the simple scheme of not allowing anyone on or off the island, Ben has made a huge mess of it. Unless, Ben himself is being manipulated by Jacob who really wants to bring new people to the island for his game with MIB. (Which would make some sense since we were told ONLY Jacob had the power to bring people to the island.)
Later, Sayid and Desmond find Michael in the engine room and confront him about why he is on the boat. Michael tells his story about being Ben's "man on the boat." When he learns Michael is working for Ben. Sayid grabs Michael and drags him into Captain Gault's room, revealing Michael's true identity as the saboteur, a spy, a traitor, and a survivor of Oceanic 815. This action pushes two sets of dangerous dominoes into motion. It disrupts Ben's plan to thwart Widmore's forces from getting to the island. It also sets into motion the safe passage of the soldiers to the island to confront Ben.
Ben has to give up his secrecy when his plan begins to fall a part. Locke takes a leadership role.
Locke holds a meeting with everyone at the Barracks to share information. Miles confirms the people from the freighter are after Ben. Sawyer suggests they just turn Ben over to the freighter people. Ben says the orders of the freighter people are to capture him, then kill everyone else on the Island; Miles does not deny it.
Ben persuades Alex to go to a location he calls "the Temple" with Karl and Danielle, and tells her the rest of the Others are already there. He provides them with a map. Ben tells Alex she is in danger because the people who are coming to the Island will use her to get to him. He assures her that her mother will protect them. He is dead wrong.
Some time into their journey, Danielle, Alex, and Karl take a break. Sudden gunfire erupts from the jungle and Karl is shot in the chest. Danielle and Alex hide behind a tree and quickly decide they need to make a run for it. They get to their feet, but Danielle is immediately hit by gunfire and falls to the ground. Alex stands up, puts her hands in the air and yells, "I'm Ben's daughter!"
This episode is one where everything goes wrong from its stated purpose. Michael's voyage of redemption has turned into a savage murderous spectacle. Michael's failure to stop the freighter (which was part of Ben's disjointed plan) caused the deaths of many more innocent people. The fate of the innocent were sealed when Sayid betrayed Michael like Michael had done to the 815ers. Michael was played for the fool by everyone.
From a failed artist, to construction worker, then to sailboat builder, to freighter engine expert to finally alleged bomb detention specialist, Michael's skill set continued to grow beyond belief when the story line needed some authoritative explanation. The more grand Michael's expertise grew in the series, the more the show stumbled toward pure fantasy over even science fiction. Especially in the end, when ghost Christian, speaking as the Island, allows Michael to end his life by allowing the jury and scientifically inaccurate bomb device, to blow up the freighter.
The last thing Kevin Johnson gave the story was the ghost meeting with Hurley near the end of the series. Michael tells Hurley that he is a whisper, a ghost, trapped on the island. Michael accepts his fate to be trapped as a lost soul on the island. However, this conclusion runs contrary to what happens to Ben. Ben did more heinous things on and off the island than Michael did, yet Ben was "rewarded" by continuing to live on the island and then later going to the sideways world to being his after life.
It is one of the great problems with LOST. It set forth canon about "rules," but never explained them or even followed them consistently from character to character. The uneven application of the rules weakens the story foundation for the series. Why would Michael have to remain a ghost on the island for eternity while Ben and other evil people get a second, third or fourth chance at redemption?
The idea that Michael was not "ready" to move on is also suspect because Ben himself states the same thing Hurley outside the church. The concept that Michael needed to re-connect in his own sideways world with Walt also has no basis because Michael was not a part of the sideways world. We are not shown any tangible proof that Michael had the ability to create his own purgatory realm. He may never had a chance because Hurley was going to shut down the island operations. Just as Walt was abandoned by his fathers, Michael's character was abandoned by the writers. And Michael was not alone in the inconsistent treatment and altered resolutions of many characters.
Monday, June 24, 2013
ADVERSITY
Life's not about waiting for the storm to pass. It's about learning to dance in the rain. —
Vivian Greene
Adversity builds character.
In a show that was "all about the characters," did they truly handle adversity head on and defeat it?
Jack may have been the most complex character. He was a skilled spinal surgeon so he had to overcome many different human barriers such as intelligence (to get through med school) and pressure (life and death surgery on patients). Despite what his father told him as a child that Jack did not have the make-up to make life and death decisions, or be a leader, Jack was a leader of his team in the operating room. He turned out to a be miracle worker on gravely injured patients like Sarah. So Jack's journey to the Island was not about any discovery or challenge to meet the adversity of leadership or life and death decisions.
Kate may have been the least complex character. She was a single minded, self-absorbed person. She was reckless and sought the easy way out of her problems. She used her cuteness to get people to cover for her mistakes. She never had to account for her damages. Her single minded solution to any stressful issue was to run away from the problem. She ran away from her mother after destroying her home. She ran away from her bank robbery gang after using them to access a safety deposit box. She ran away from her Florida husband when the marshal tracked her down. She ran away from Jack, including after her final battle against Flocke. Kate could have gone back to Jack once she got Claire to the Ajira plane, but she did not. She feared any sort of commitment - - that is why Jack died alone on the island.
Sayid may have been the most pigeon-holed character. From an early age, Sayid was not afraid of pleasing authority. He would kill a chicken at a snap of a finger. His life embraced the dark side including death. As such, he did not fear it. Instead, he manipulated it and projected it towards others, including his torture victims. As a result, Sayid was constricted into a set of twisted, personal honor (almost Klingon in stubbornness). As a result, Sayid isolated himself from the normal world. He kept friends at a distance; he could not make lasting relationships. He repressed his emotions to the state of being a hollow man, a soldier of misfortune. On the island, Sayid's purpose did not change. He did the dirty work for the group. He was the good soldier. He was never comfortable being part of the inner circle. He was never seen as a leader, but more as a ticking time bomb or a threat. He kept his distance in all matters, including relationships. Sayid's character did not change when he sacrificed himself with the submarine bomb; it was not a moment of redemption but a grave error in judgment (he could have isolated the bomb blast by closing the section blast doors).
Sawyer may have been the most cursed character. When Cooper the con man takes his parents for their life savings, his father kills Sawyer's mother and himself. As a bitter orphan, Sawyer vows revenge against Cooper. He is told by his uncle to move on with his life, but Sawyer does not (with the slightest help by Jacob giving him the pen to write his angry note of revenge). So Sawyer became the man he hated; a criminal who used people, toyed with their emotions, and left their lives in shambles. He was no different on the island. He was the smooth talker con man who used his devious skills to make his life better by hoarding valuable resources. When confronted with his lifelong evil, Sawyer does not change his behavior but strangles Cooper to death. Afterward, for a short pause, Sawyer did actually change. First, subconsciously he must have felt that he could have a better life if he was on the side of the law (i.e. his creation in the fantasy sideways world.) Second, consciously he must have felt the same way because the Island granted him his "wish" by transporting him back to 1974 to become the Dharma sheriff. Sawyer would not have wanted or needed to leave this fantasy world, but it was disrupted and destroyed when the O6 people returned to the island. So, indeed Sawyer did change to have a normal job and home life (something missing in his real life), but as a pure fantasy can anyone say that was true character development?
In certain respects, the Island merely reinforced the deep personality traits of the main characters. Their personal survival actually depended upon each of them enhancing their prior motivational behavior in a self-serving manner. The adversity of the island life did not significantly alter the main characters perspective, values, or behavior.
Labels:
change,
fantasy,
flashbacks,
leader,
life,
main characters,
redemption
Wednesday, May 22, 2013
ALTERNATIVES
There are a few ways to look at the Island and what it represents in the series.
1. IT IS AN ISLAND.
A real island. A real place. In the Pacific. It is shrouded from observation because of the intense electromagnetic properties (which bends light to cloak it from view). It is a real island with real plants, real animals, and real weather. It is a natural place with some supernatural elements.
2. IT IS AN AMUSEMENT PARK.
It is meant to "look and feel" like a tropical island, but it is not a natural island formation. It was created by man or alien hands. It could be considered Disneyland with the safety precautions turned off (or for 1970s film buffs a version of Westworld.)
3. IT IS A PRISON.
It is a place where undesirable people are locked away from the real world. We were told that it was difficult to find and difficult to enter. One needed permission to enter (Jacob as the warden). Once you arrived on the island you could not leave.
4. IT IS AN INSTITUTION.
A voluntary form of prison, the island could be a mental institution utopia experiment. People were brought to the island to work out their emotional and psychological problems until the inmates began to run the asylum. The Dharma may have been the original therapists but they turned into a cult.
5. IT IS A PLACE IN A DIFFERENT DIMENSION.
The unique electromagnetic properties of the island are not Earthly so the island itself is in a parallel universe. The people are taking to a new realm of existence. This is why they cannot leave the island because the snow globe effect is actually a space barrier between universes.
6. IT IS A MODERN INTERPRETATION OF HELL.
Instead of fire and brimstone, it is a dangerous tropical paradise of demons, tests and judgment.
7. IT IS THE SIDEWAYS WORLD.
There is only one "world" for the characters. Since they end up in the sideways fantasy world (created by themselves) it is a fair assumption that the island was also part of this sideways fantasy world (created by themselves).
8. IT IS A REPRESENTATION OF THE INTERNET.
The island has no physical elements. It is a creation of bits of information contained in a network. Characters immerse themselves into the island like gamers in open MMOs. It is a place where a person's mind becomes free of its body (and the things that would hold back a person's full abilities like a body in paralysis or having cancer). It is a mechanical representation of a real world (which elements such as the smoke monster make mechanical sounds when making an appearance). It plays into the repetitive notion of the characters going on endless missions and dangerous quests.
9. IT IS AN ILLUSION.
The island is a mental illusion or delusion in the mind of an unbalanced person. If the island is a construct of a twisted mind, then the elements of nature and physics do not apply. The fears, phobias, ego and emotions of a person are the true elements of creation. Everything was imaginary in reality but quite real in the mind of a mental or coma patient. Many people thought that the whole series was inside a character's head, such as Hurley. But it could also be assumed that the whole thing was made up by the twisted mind of Jacob.
10. IT IS HEAVEN.
It is a heavenly playground for children who never had a chance to grow up to be adults. There are elements of immaturity, lack of problem solving, lack of applied knowledge and basic emotional attachments in awkward social dynamics which baffle young children who have to learn their way through the culture and social obligations. Without time to develop those social skills as children, their souls would be incomplete. The island is for souls to role play and to learn what it means to be human.
1. IT IS AN ISLAND.
A real island. A real place. In the Pacific. It is shrouded from observation because of the intense electromagnetic properties (which bends light to cloak it from view). It is a real island with real plants, real animals, and real weather. It is a natural place with some supernatural elements.
2. IT IS AN AMUSEMENT PARK.
It is meant to "look and feel" like a tropical island, but it is not a natural island formation. It was created by man or alien hands. It could be considered Disneyland with the safety precautions turned off (or for 1970s film buffs a version of Westworld.)
3. IT IS A PRISON.
It is a place where undesirable people are locked away from the real world. We were told that it was difficult to find and difficult to enter. One needed permission to enter (Jacob as the warden). Once you arrived on the island you could not leave.
4. IT IS AN INSTITUTION.
A voluntary form of prison, the island could be a mental institution utopia experiment. People were brought to the island to work out their emotional and psychological problems until the inmates began to run the asylum. The Dharma may have been the original therapists but they turned into a cult.
5. IT IS A PLACE IN A DIFFERENT DIMENSION.
The unique electromagnetic properties of the island are not Earthly so the island itself is in a parallel universe. The people are taking to a new realm of existence. This is why they cannot leave the island because the snow globe effect is actually a space barrier between universes.
6. IT IS A MODERN INTERPRETATION OF HELL.
Instead of fire and brimstone, it is a dangerous tropical paradise of demons, tests and judgment.
7. IT IS THE SIDEWAYS WORLD.
There is only one "world" for the characters. Since they end up in the sideways fantasy world (created by themselves) it is a fair assumption that the island was also part of this sideways fantasy world (created by themselves).
8. IT IS A REPRESENTATION OF THE INTERNET.
The island has no physical elements. It is a creation of bits of information contained in a network. Characters immerse themselves into the island like gamers in open MMOs. It is a place where a person's mind becomes free of its body (and the things that would hold back a person's full abilities like a body in paralysis or having cancer). It is a mechanical representation of a real world (which elements such as the smoke monster make mechanical sounds when making an appearance). It plays into the repetitive notion of the characters going on endless missions and dangerous quests.
9. IT IS AN ILLUSION.
The island is a mental illusion or delusion in the mind of an unbalanced person. If the island is a construct of a twisted mind, then the elements of nature and physics do not apply. The fears, phobias, ego and emotions of a person are the true elements of creation. Everything was imaginary in reality but quite real in the mind of a mental or coma patient. Many people thought that the whole series was inside a character's head, such as Hurley. But it could also be assumed that the whole thing was made up by the twisted mind of Jacob.
10. IT IS HEAVEN.
It is a heavenly playground for children who never had a chance to grow up to be adults. There are elements of immaturity, lack of problem solving, lack of applied knowledge and basic emotional attachments in awkward social dynamics which baffle young children who have to learn their way through the culture and social obligations. Without time to develop those social skills as children, their souls would be incomplete. The island is for souls to role play and to learn what it means to be human.
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A delusion is a belief held by an individual or group that is demonstrably false, patently untrue, impossible, fanciful, or self-deceptive. A person with delusions, however, often has complete certainty and conviction about their delusory beliefs. They resist arguments and evidence that they are wrong.
People have illusions about smells (olfactory), taste (gustatory), temperature (thermoceptive), and touch (tactile). They may experience highly disgusting or very pleasant or unusual smells when meeting a particular person. They may find ordinary foods (oranges, chocolate, milk) have different tastes than others experience. They may find cool objects burning hot or warm objects frozen; traditionally smooth objects (like a balloon or cat's fur) may feel rough or uneven.
The most written about of all delusions, paranoia, has been shown to follow various stages: general suspiciousness; selective perception of others; hostility; paranoid “illumination” in which all things fall into place; and, finally, paradoxical delusions of influence and persecution. Delusions often totally preoccupy people and cause them considerable distress because they do not doubt their beliefs are correct.
Delusions differ from illusions. We have visionary and auditory illusions; for instance, that the sun goes around the earth or that ventriloquists’ dummies actually speak. We have selective memories /illusions of happy childhoods. These are things that seem true to the senses or memory, but are known to be false or have no basis in reality.
There are some caveats: Some religious delusions are impossible to verify and hence falsify. Other delusions have a self-fulfilling prophecy, such as a jealous person accusing and attacking an innocent partner, who then leaves them for another. In that sense, these people cause their delusions to come true.
An emotional charge, like jealous, can tap a person's brain process and imagination to create false presumptions and assumptions that feed fear and paranoia. If a girlfriend does not return a message, an insecure boyfriend could begin the dark road of self-esteem hits to his own ego: maybe she no longer likes me?, who is she with?, is she out with another man?, where is she? is she having a good time without me? This self doubt has a cascade effect which could lead to the irrational boyfriend to lash out at his innocent girlfriend who was merely too busy at work to respond to his messages. So his fear about losing her is a self-induced reality caused by his delusions about an event which he lacks sufficient information to make a rational decision. The idea of "self-fulfilling prophecy" comes to mind.
Psychiatrists may diagnose someone as having a delusion disorder under a number of very specific situations:
- The disturbance is not the result of physiological or medical conditions, like the medication or drugs a person is taking.
Sometimes psychiatrists say it is difficult to distinguish from other disorders like hypochondriasis (particularly among those with little self-awareness); body dysmorphic disorder (preoccupation with imagined bodily defects); Obsessive Compulsive as well as Paranoid Personality Disorder.The delusions of people with schizophrenia are often clearly bizarre, utterly implausible, not at all understandable; one might believe the brain has been replaced by that of another person or that one has shrunk to be three feet tall. On the other hand, non-bizarre delusions could be possible. For instance, people may feel they are being followed, photographed or recorded, that somebody is slowly poisoning them, that their partner is always cheating onthem, or that their boss or neighbor is in love with them. A person can easily project negatives onto any situation because their minds are free to make blind speculations about the world around them. A person with low esteem or is self-centered can channel these negatives into a web of "the world is against me" personality traits. Or that "I am cursed because I am unlucky at everything."
Some delusions cause people to make dramatic changes in their life: leave their job or partner, move from their house (or even leave the country), or dress very differently. The person with delusional disorder, however, appears normal when their delusional ideas are not being discussed.
People with delusions can become very moody, often causing their relationships and work to suffer. Interestingly, some cultures and groups have particular beliefs that may in other cultures be seen as clinically delusional.
It is a relatively rare disorder usually occurring later in life, particularly among people with relatives who have other disorders. Most appear argumentative and hypersensitive. Many do not seek treatment and become, over the years, more and more isolated.
Psychiatrists have noticed five clear types of delusions:
- Somatic. This is the delusion that one’s body is
somehow strange or not functioning properly. It may be the belief that
one smells odd, or that particular parts (nose, breasts, feet) are
particularly odd, misshapen or ugly. Often people with these delusions
believe they may have some internal bug or parasite that is destroying
or affecting some very specific part of their body.
The causes of delusions are unknown. Current interests in neuropsychology have lead some to speculate that malfunctioning biological features may cause or exacerbate the problem. Some have implicated basal ganglia, others the limbic system and still others the neocortex. Investigations continue.For others, genetic explanations are best because so many with delusional disorders have first-degree relatives with these and related disorders.Other researchers point out that many with the disorder have had difficult childhoods characterized by instability and turbulence, callousness and coldness. They consider delusions to be an impairment in the ego defense system aimed to protect and bolster the self. They see the paranoid or persecutory delusions as an attempt to project onto others things they do not like to admit in themselves.
People often lie, fake, or deceive, even to themselves. Psychologists call this dissimulation, but have recently distinguished between two very different types of dissimulation: