ISLAND: A NEW SERIES

The lock down of 2020 did spur some changes in entertainment viewing habits. Through streaming services like Netflix, international audiences have been exposed to k-dramas. South Korean television shows have their own set of tropes and story lines which are fresh to new audiences. One gateway series was "Crash Landing on You" which had an unbelievable premise (a South Korean heiress has a paragliding accident by crash landing in hostile North Korea only to find love with a NK soldier.)

A smaller network is promoting a new 2021 series.

The OCN Network is casting a new k-drama that may interest LOST fans.

“Island” is a fantasy exorcism drama based on a webtoon of the same name. It will tell the story of man who needs a woman to end his cursed immortal life and a woman who does not know about her sad and cruel fate. The two are joined by an exorcist priest who is consumed by the guilt of having been unable to protect one girl. On the island that possesses an evil darkness despite its beauty, the three characters who seem unlikely to get along will gather their strength to protect each other.

Won Mi-Ho is the only child of a father who runs the Daehan Group. She is arrogant and selfish, but she also looks sad. One day, she makes big trouble. Because of this, her father banishes her to Jeju Island. She is assigned to work there as a high school teacher. She teaches ethics. Meanwhile, Won Mi-Ho gets involved in a case related to ghosts. The ghosts have sought to get rid of the human world. They target Won Mi-Ho. A mysterious ghost hunter tries to protect Won Mi-Ho.

At first glance, the premise seems to be a concentrated version of the original LOST premise. A mysterious island inhabited by supernatural beings where human visitors need to unravel the mysteries in order to save themselves and mankind.

A LOST RANT

 ScreenRant listed the 10 worst “answers” of LOST:

10. The Whispers are Souls.

The whispers come from the souls of dead people who haven't "moved on" yet like Michael.
It was an answer that gave evidence to the early purgatory theorists, which the show runner continually deny.

9.  Desmond had Mind Powers because of Electromagnetism

Desmond’s powers were nonsense and caused "electromagnetism" stemming from the hatch implosion makes no sense because there were others near the Hatch who were not affected.

8.  The Sideways Timeline is Purgatory

 
The opening of Season 6 seemed to suggest that Juliet had split the timeline.
In one branch, the island remained and nothing changed. In the other branch, the island was destroyed and the events of LOST never occurred. But then we found out that it was not a branching timeline, but purgatory. It caused a lot of confusion — "they were dead the whole time!" — but even those who weren't confused were left bitterly disappointed and upset with the reveal. Even some tried to salvage the sideways branch as being some sort of “dream” state (before moving on?) but it all comes down to Bad Filler episodes.

 7.  Walt’s Special Powers

 
Walt plays an important role throughout the first season, and to some extent, the second season as well. It's very clear that he has some type of special connection with the island, and has some sort of mental powers. He also showed some sort of teleportation powers in Season 2, as he appears to Shannon right before she dies. But a growth spurt exiled Walt from the series and the disappointing answer for his mysterious powers was that he was "special.”

6.   Revived Locke was Actually the Man in Black

Locke dies midway through Season 5, but we were briefly led to believe that he was revived after returning to the island. Of course, Locke remained dead, and the Man in Black was simply using his corpse to have a corporeal form to split the Others from Jacob so he could try to escape the Island. Of course, a paralyzed Locke crash landing on the island can walk, run and hunt like an Outback warrior, but his remains stay dead without resurrection even though Jack’s dad wanders around it at will?

5.  The Confusing Numbers

The numbers were another major mystery, and they were a part of LOST from the very beginning. In the end, we found out that the numbers correlated to Jacob's numbering system for the candidates to replace him. Why would an island god need to be replaced by a mortal?  As if that wasn't lame enough, it also doesn't answer anything else: Why were they broadcasting from the tower? Why do they bring people bad luck? Why are they seemingly cursed? Why do they constantly recur both on and off the island?

4.  The Smoke Monster’s origins

There were countless theories regarding the Smoke Monster, and it remained one of the most prevalent questions throughout all six years of the show. And then we found out it was just the result of some magical reaction after Jacob’s brother (the Man in Black) fell in the magical glowing light cave.


3. Jacob and The Man in Black

For that matter, Jacob and the Man in Black  remain extremely divisive and controversial figures. "Jacob" was mentioned as far back as Season 3, and while there are various "hints" of their existence throughout the first couple seasons,  most people found their existence a total blindside that ruined the show. The show pivoted abruptly to a supernatural fantasy show with no reason. All the mysteries, questions and Easter eggs were washed away by two god-boys playing with humans (spirits) as pawns. There origin story episode was very good but it should have been shown early in Season 1 if that is the true mythology of the show’s creators (which most people believe was not - - - because they wrote themselves into too many dead ends to rationally explain.)

2.  Magic Island

Perhaps the biggest question of all contained the most disappointing answer of all. "What is the island?" It's a question that permeated LOST throughout all six seasons, as it was clearly evident that it wasn't just a regular island. There were scientific facts thrown at us to analyze, research and theorize. From an alien ship, to a parallel universe time portal to a secret military base, there were viable alternatives to the explanation that the island was just “magical.”  

1.  The Magic Light

But why was the island magical? The explanation was that the island containing some sort of “magical light” that does magical things and keeps evil at bay from doing what exactly? What is the magic light exactly? Was the magic light the cause for all the crazy island stuff?  Locke's sudden ability to walk?  Smoke Monster's origins?  The ability for the island to literally move through space and time?. Electromagnetic properties of the island? The ability to disappear? Magic as being the answer to all the unanswered questions is a cop-out of epic proportions.

WHAT WOULD YOU CHANGE?

 AN OUT-OF THE BLUE QUESTION:

WHAT IN LOST WOULD YOU HAVE CHANGED?

 There were plenty of unanswered questions, plenty of angst about the final seasons direction, and curses about the Ending. But generally, what would you as a loyal viewer want to have changed in the original series?

PLOT ELEMENTS? 

Did the show have to have its start as a plane crash survival story? Could have it been set in a different location such as hospital, mental institution, a secluded university campus or secret military base?

Did the show have to have a mixed genre premise? Could it have been a straight drama? Or could it have been a straight action-mystery?

Did the show need to have unclear time travel rules and supernatural smoke monster elements? If you took away the Jacob and the Island story line, would LOST still have delivered on its character goals?

CHARACTERS?

Would you have pared down the ensemble cast into a smaller focus group? Would you have eliminated the Tailies from consideration? Would you have changed the Others from its Ben's cult status to something else (like pagan, primitive natives with special powers such as worshipping the smoke monster)?

Would you have not used flash backs and flash forwards to give us the main characters pre-island stories? Would you have given the broken characters a new chance to live out their lives in their set, reality pain (such as Locke and his paralysis)?

Would you have given a secondary character a bigger role in the main story? Would the Others been better served under Patchy? What if the pilot survived to take control away from Jack? 

THE ENDING?

What did you really want to see in the final episode? Did you need a happy ending or could you have lived with a bitter island bloodbath? Did you need to see a post-island epilogue of the final survivors trying to cope back in the real world (such as Sawyer maybe uniting with his daughter)?

Would you have wanted to erase the flash sideways world in its entirety? Would you like the island stories to end, in context, on the island?

Would you have wanted one last twist - - - such as Hurley in the mental institution playing with an island snow globe?  

Would you have accepted a Sopranos style ending (sudden end to black) which was considered by the show runners?

A WORD FROM THE CREATORS

 At a recent virtual panel at NY Comic Con, LOST showrunner continued his advocacy for LOST. Damon Lindelof and Carlton Cuse said there no plans for a reboot or spinoff of the series which had its 15th anniversary of its premiere. However, they would support another show in the LOST "universe" if someone had a great idea to convince Disney/ABC to do it.

 Lindelof and Carlton Cuse were asked what they both think about any possible reboot or spinoff. 

"It would not be a good idea for us to go back," Cuse said. "This comes up all the time and, I think, Damon and I have been very consistent and forthright on this topic. We told the story that we wanted to tell."

Over six seasons, LOST followed a group of survivors of Oceanic flight 815 who crash landed on an island. As they tried to go back home (and then get back to the island), it was consistently a top-rated show on ABC.

To this day fans love re-watching and discussing the series' few unsolved mysteries — including one Cuse and Lindelof said they'll never answer about the identity of the people on the Season 5 outrigger.

While they have no interest in rebooting "Lost" or exploring any spinoffs, Lindelof said he would be supportive of anyone who pitched a good idea. 

"If somebody else comes along who has a great idea to do something set in the 'LOST' universe and sells that to The Walt Disney Company, they will have our blessings to do that," Cuse said. "We see no reason to do it. It doesn't feel like there's anything that we have left to say that's worth saying. We did it."

Lindelof said Disney has never come to him with any other show pitches since the show wrapped up in 2010.

"For the three final seasons of the show — four, five, and six — we put so much emotional energy into ending this show," Lindelof added of why they have no need to revisit this world. 

After 15 years, the show continues to be a iconic series from the past. To re-create a show with that much detail and location shooting would cost double or triple the old budget (which was already high for its time). Another re-boot problem would be that it was a serial show, where each episode was linked to the next. This made it impossible for secondary revenue like television syndication, which demands intact single episodes of shows (in case people cannot watch everyone in a row).

The LOST universe itself is a cryptic concept. Fans still debate whether it was science fiction or fantasy. Fans still debate whether it was real, imaginary or a hybrid psychotic event(s). For all its flaws, it would be very difficult for another producer to re-create the magic of the Island and its mysteries.

TEN YEARS AFTER

As Yahoo UK recently published:

"In the end, it was a Shephard — two of them, actually — who led the lost flock home. Ten years ago this week, the hit ABC series, Lost, brought it’s time-and-reality hopping narrative to a conclusion in the super-sized series finale, appropriately titled “The End.”

The final moments of the final episode feature the show’s hero, Jack Shephard (Matthew Fox), reuniting with his fellow Oceanic Flight 815 castaways in a heavenly dimension as they prepare to move on to whatever realm lies beyond death. “Where are we going?” Jack asks his father, Christian Shephard (John Terry), whose specter had haunted him throughout Lost’s six-season run.

“Let’s go find out,” Papa Shephard replies. At that point, father and son take their place in pews surrounded by the entire cast — even those who died early in the show’s run — and they collectively step into the light.

That may sound final, but “The End” turned out to be just the beginning of the debate over Lost’s place in the pantheon of all-time TV greats. Certainly, the show’s 2004 premiere was a seismic pop culture event, with action that rivalled big-screen blockbusters and ratings to match."

The first takeaway is that LOST was the first epic series that had a complicated mythology and Easter egg fan service to make it the pioneering show for the internet commentary community. Fan sites devoured each episode like an all-you-can-eat buffet.  Fan theories became more complex than the LOST writers best imagination. It was the first interactive television program, some of it in real time chat rooms. Today, some YouTubers live stream commentary during k-dramas, but that pales in comparison to the national media dedicating columnists for weekly recaps.

It was a critical and viewer juggernaut. But as the seasons progressed and the tangential story lines got more convoluted, the show runners hubris took the series down split road to a dead end. The biggest complaint was the land fill sized pile of unanswered questions. When one weaves an elegant story, with mysteries, viewers expected show worthy answers. Rambling into the series finale, Cuse and Lindelof acknowledged there was no way they’d be able to craft an ending that paid off every plot thread and satisfied every viewer.


“We have to have the answers to the mysteries so that there is something to work towards, but what we don't have are the stories,” Lindof said in a 2010 Wired interview.  “J.K. Rowling can sit down and say, ‘Here's how Harry Potter's parents were killed, and here's who killed them,’ but how am I going to reveal that information to the audience in the most emotionally impactful way? So we know what we want to do, but we have very little idea of how and when we're going to do it.”

Second, this confirmed in some people's minds that at a certain point, the writers were making things up on the fly. There was no concrete ending from the beginning. The show drifted on the ocean of fan support. In the end, the show runners confessed they decided to do was to design a finale that emphasized "character over mystery."

 But when you base six years of story on mysteries, many fans thought that was a cop-out. Especially true when the show's producers vehemently denied during the first season that the show was set in purgatory. But the End showed a mixed religious message that main characters had died in the past and the island was some other dimension (further complicated by another universe of the sideways world).

Third, LOST did get into the surreal story writing genre by not only having character flash backs but also "flash sideways," a different  timeline where apparently Jack and the rest of the castaways were back in the real world, albeit leading different lives than what we saw in the flashback sequences that were a major part of previous seasons.

But these did not add a layer of mystery more than one of confusion. A few critics thought this was mere annoying filler episodes. Others thought the writers "stumped" themselves in their original time frame ("painted themselves into a corner") so they tried to "re-boot" the series with another time line.

The evolution of the Man in Black as the personification of dead Locke really did not answer the confinement of Jacob and the Smoke Monster to an island where human beings were used as chess pieces in a sadistic game. But if you look to the religious elements, especially ancient Egyptian culture, one could find a potential answer that the island was the underworld which a soul would have to navigate dangerous tests in order to be judged by the gods in the afterlife.

But the show runners did not want LOST to fall into that realm. They wanted LOST to stand on its own mythology as pure fantasy. They decided that they did not have to answer all the questions or defend their creative choices because enough fans were fully invested (with their own ideas) it did not really matter.

Fourth, there was a sour taste of being hustled by a three card monte boardwalk shark. The End did not tie up loose ends. It made them more tangled as we see Jack "die" on the island while  Hurley and  Ben Linus remain on the island as "new protectors" only to "shut it down" in a hasty DVD epilogue. It did not explain why pilot Frank Lapidus miraculously gets everyone else — including Kate, Sawyer, and Claire off the island. Why were these characters "saved?" What did they do when they returned "home?" How did some find their way to Christian Shephard's church?

In the final scene, Christian opens the church doors to engulf the inside with a bright white light, symbolizing the moment between death and the after life. In the real world, “The End” wasn’t exactly the end that a lot of viewers were waiting for with half the fans found it a comfortable, happy ending while half felt it was a disappointing conclusion in a Hollywood trope way. It did bring to the forefront the debate on whether  the “Flash sideways” universe functioned as a kind of purgatory between life and death — the same theory that was advanced about the island itself when the show first launched. As one commentator put it: “I think the overall lesson is that we're all going to die eventually, so we may as well surround ourselves with as many attractive people as we can.”

Fifth, the LOST legacy may truly be the backtracking by the show runners.  Lindelof heard the criticisms loud and clear, and responded to them in public. “There was a very early perception… that the island was purgatory and we were always out there saying, 'It's not purgatory, this is real, we're not going to Sixth Sense you,’”


But three years later, he said  “Lost was all about mystery and questions and answers and [I wanted] to try to answer a mystery the show hadn't even asked up until that point… A portion of the audience was like, 'Oh, that wasn’t on my list, I'm not interested in that.' But we were.” Even as he stood by “The End,” the online reaction clearly took its toll.

Despite its still-divisive ending, the early success of LOST remains something that TV networks would love to emulate in an increasingly fractured TV landscape. In 2019, ABC hinted that it would not be adverse to rebooting the series.  But do not expect any of the original creative team to return for a potential revival. "I, personally, am not going to be involved with other versions of Lost because we told the most complete version," Lindelof said last year.  "I feel like I spent four years of my life begging them to end it and when they finally said yes, the ending that we did probably should stand as our ending."

LOST was highly entertaining, addictive and mentally stimulating but with all first loves, it had its bad points, questionable choices and nasty arguments.  As a series of intertwined and related episodes, LOST could never handle syndication re-runs because viewers missing episodes would themselves become lost. Syndicated viewers demand self-contained episodes like Star Trek.

It is hard to believe that it has been TEN YEARS since LOST concluded its run. There are very few blogs or sites that still contribute new content to the LOST community. But there are occasional posts of nostalgia about the series. And that is one of the hope's of any television production - - - a nostalgic memory.

SLEEP

Sleep literally cleans your brain. During slumber, more cerebrospinal fluid flushes through the brain to wash away harmful proteins and toxins that build up during the day.

Harmful build up of proteins and brain toxins can lead to neurological damage. Many dementia patients have a difficult time sleeping. They can never "switch off" their brains in order to rest. The brain is in constant "on" mode which can lead to hallucinations, temper and mood changes.

Throughout the series, the castaways were shown constantly on the move, day and night, mission after mission, worn down by lack of sleep. The physical strains of island survival took a mental toll on them. They became irritable, possessive, paranoid, abusive and sly. Even level headed Sawyer showed those various traits as the days and weeks passed on the island.

If the first theme of the show was the standard "how would you survive on a deserted island," then the basic survival instincts would take charge of your body. The gut instinct of fear of the unknown would be front and center in your mind. What is behind the bushes? What is that noise? Is something out there that can harm me?

That is why the castaways felt compelled to stay together; strength in numbers. That is also why they chose the beach to set up camp; they only had to worry about the land side at night.

Getting past the fear, castaways in this situation would have four things on their mind: food, water, shelter and rescue. The island seemed to have sufficient plant life to provide some basic nutrition. Water was the first problem that needed to be solved which led to exploring the island. Shelter was from the airplane debris which kept the castaways focused on something else besides their plight.

The one issue that did not take center stage was rescue. It was more an afterthought than a compelling mission. Even when they found a way by finding the cockpit radio, things stopped by a tragic death. Only when the Others created a more dramatic need for survival did the main characters, as leaders, tried to find a way off the island. Michael's boat was really the first and last chance. When the freighter arrived, a second set of danger emerged which left most of the castaways unable to escape.

Throughout the incidents, it seemed that main characters stopped thinking rationally - - -  asking the key questions to their colleagues. Information was sparsely communicated on a need to know basis. This led to jealousy and splits among the group. The island began to assert a deranged assertiveness in both Jack and Locke which drove a stake between a combined effort to leave the island.

At one point, Hurley hallucinations became so real that he almost killed himself by jumping off a cliff. His friend, who may have been imaginary, almost got him to buy into the premise that the only way to leave the island was to die.  In some respects, this was a true statement. (Anti-purgatory theorists will not fixate on the Ending church as anything particular to island life.)

Hurley was the world in which the other characters orbited. Hurley was the only character to truly fit into all the castaway sub-groups and with the Others. (He was let go without any torture or retribution.) Some theorists believed that the entire show was within Hurley's own mind. A sleep depraved mind that got the story line farther and farther away from reality as each season ended. Hurley was a known mental patient - - - who seemed to get along with all the day room patients just like he did with the island people. He was not special. He was not a forceful personality. He was not a danger. He was the perfect observer.

Or, in the analogy to another fantasy, he could have been the Wizard behind Oz's curtain.

Collective dream theorists think that Hurley could have been the "thought engine" that connected the various characters subconscious dreams, desires, thoughts and issues to "life" on an imaginary island world. Dreams and a weakened mental state was suggested as the reason why the story lines had so many continuity errors and dead ends.

With so many tangents weaved into the LOST episodes, it is not difficult losing sleep over trying to figure everything out.

ANOTHER LOSTY SERIES

Another season, another network, another LOST-like television series.

This fall, according to the preview and Deadline Hollywood article, the NBC show MANIFEST begins "when Montego Air Flight 828 lands after a turbulent but otherwise routine flight, the 191 passengers and its crew learn that while only a few hours passed for them, the rest of the world has considered them missing—and presumed dead—for over five years. As the passengers try to reintegrate themselves into the world, some of them experience strange phenomena, leading them to believe "they may be meant for something greater than they ever thought possible."

It seems like the LOST pitch without the crash landing on the island.

The showrunners have set themselves up for a high standard of mystery and mythology to pull off a reasonable sci-fi explanation of how a jet plane goes missing for 5 years without crashing or passengers aging. 

It is assumed that the show has to whittle down the main cast from 191 passengers in crew to a hand full of focus characters with the "strange" events surrounding their new lives post-flight. What is strange, what is supernatural, and what is there "new greater purpose" in life seems to take bits of the island guardian and castaways fight to "save the world" from something bad to the main land and the ordinary lives of regular people. 

MANIFEST may or may not be worth watching. The TBS satire, Wrecked, was a train wreck from the start. It was a bad parody and extremely unfunny. It failed on all cylinders.

MANIFEST's producers include Hollywood movie veterans so the quality of the filming could be great, but even the best production values cannot save a poor script or plot.

MANIFEST premieres in late September.

 

BEING LOST

LOST means different things to different people.

But what is the word lost?

As an adjective, it means being unable to find one's way; not knowing one's whereabouts; unable to be found; (of a person) very confused or insecure or in great difficulties.

It also could mean something that has been taken away or cannot be recovered like an attempt recapture one's lost youth. Or an opportunity not used advantageously or wasted.

The word also means having perished or been destroyed such as a memorial to the crewmen lost at sea. 

It could also mean a game or contest in which a defeat has been sustained by a player.


However, the origin of the word "lost" comes from  Old English losian  for ‘perish, destroy,’ also ‘become unable to find,’ from los ‘loss.’

The above denotes the various layers to LOST, the TV show.

First, the characters each had a backstory that showed them unable to find their own way through their lives. They were very confused or had great difficulties in their lives finding true happiness.

Second, many of the characters had lost something or someone in their lives that put them on a dark path of regret, anger or hopelessness.

Third, many characters wasted opportunities or friendships that led them down the path of loneliness.

Fourth,  the main characters seemed to be both lost at sea and perished at the hands of the island guardian(s).  Whether they were merely pawns in a game by the island powers is a plot debate point.  But the word, as with the show, was about winners and losers in the struggle of power and conquest (the heart of business and personal relationships such as love).

Lastly, the origin definition may come the closest to telling what LOST was truly about: if you are unable to find (someone), you will perish and be destroyed by life.

 

BRAIN LIVES ON

There is a haunting story from the UK Sun.

A UK study on what happens to cardiac arrest patients (where the heart stops) that "come back to life" indicates that brain activity continues after death. Specifically, a person's consciousness continues to work after the person has died. In other words, your brain knows you are dead when you die.

Dr. Sam Parnia and her team from New York University Langone School of Medicine  set out to find the answer in a much less dangerous fashion, looking at studies in Europe and the US on people who experienced "out of body" death experiences.

“They’ll describe watching doctors and nurses working and they’ll describe having awareness of full conversations, of visual things that were going on, that would otherwise not be known to them,” Parnia said.  Their recollections were also verified by medical staff who reported their patients could remember the details.

Death, in a medical sense, is when the heart stops beating and cuts off blood to the brain.
This means the brain’s functions also stop and can no longer keep the body alive.

Parnia explained that the brain’s cerebral cortex — the so-called “thinking part” of the brain — also slows down instantly, and flatlines, meaning that no brainwaves are visible on an electric monitor, within 2 to 20 seconds.


This study adds a factual context to several LOST theories. For those who believe that the series premise was contained inside the mind(s) of a character, then the after death experiences (which could seem to last for a long time like short REM dreams) could explain LOST's mysteries and inconsistent parts. For those who believe that LOST was staged in the after life underworld, the vivid life and death dreamscapes could be from the moments right after death - - - the brain pulling memories, fantasies and information from a still-active brain after the body has died.

UFO

One of the great unsolved mysteries of LOST is the Island.

Some believe that the Island was its own character. That it may have been a supernatural being in its own right - - - so foreign to modern humans as to be "magic."

Others have tried to rationally explain the Island.

We know of few facts about the island:

1. It can move. During Faraday's rocket test, it was shown that the island was moving away from the ship. A real island cannot move across the ocean.

2. It had special light properties. When Faraday landed on the island, he remarked that the light was strange, that it may be bent. One of the theories of stealth technology is that the bending of light and reflection could cause an object to "disappear" to the naked eye. When the helicopter left the doomed freighter, Jack and those on the copter saw the island vanish without an ocean ripple.

3. It has unique electromagnetic properties. The Swan station was created to try to manage the EM properties so the island would remain in balance. When it was not in balance, the large purple flash would occur sending the island out of phase with time or space.

If you tie all three of these facts together you can come up with a plausible theory.

The island was a UFO.

Since earth islands are volcanic mountains that begin at the base of the ocean to crest above the water line, they do not move. Therefore, the Island is not an island.

Electromagnetic energy can be used as propulsion system. Several countries have been using technology to support monorail trains riding on a cushion of magnetism. The movement of the Island could be made as a result of the electromagnetism. This means that the Island has a powerful engine, probably underground in the forbidden zone, which allows the guardian to pilot the island to safety.

Stealth technology is also researching the use of bending light waves to mask radar patterns. Magicians use mirrors to make things disappear by light wave cancellation techniques. In a larger scale, the Island could mask itself by using EM energy to "bend" light waves to make the island disappear.

So what would be the purpose of a space alien having a stealth UFO in the Pacific Ocean?

Just as in other sci-fi shows like Star Trek, advanced space travelers would often create "observational posts" on primitive planets to gather data on the inhabitants, cultures and technology. A UFO disguised as an uncharted island would provide cover for any human wandering to it.

Further, mere observation could lead to more advanced testing and experimentation on humans. It was said that the guardian was the only person who could bring people to the island. The guardian must have been the captain of the ship. What better way to observe how humans interact than putting them in a survival situation on a dangerous island?

What would space aliens gain from such encounters? Information on human behavior, science experiments including DNA enhancement, mind control tests and possible allies in the off-island world. Wealthy people like Widmore may have been recruited by the Island aliens to obtain information that they could use (especially in defense technologies). The aliens could have given Widmore technology to make him rich, and in turn Widmore used his wealth and power to provide the Island with any resources it needed to survive, mostly human subjects.

UFO researchers believe that since the atomic age, at least 60 different space aliens have visited Earth and have been in contact with national governments. It may be too difficult for isolated ships to "conquer" the planet. But it probably easier to infiltrate world governments if aliens are after the planet's resources, such as gold which many scientists believe is a key element in deep space travel.

The UFO theory in LOST also answers the question about the long life of Jacob - - - he was not a human being. The smoke monster was not a human being. The aliens tried to breed human-alien hybrids on the island but those experiments failed (and why Juliet was summoned to the island). Space aliens could colonize Earth by interspecies procreation which would take human elements (compatible with Earth's environment) with the longevity of the alien races.

The UFO theory also can support the reason why Jacob and MIB wanted to "leave" the Island - - - they were so far away from their home planet their mission was a death sentence. They would rather die and end their existence than deal with the "never changing," corrupt and primitive humans.

Finally, with the real aliens gone, the Island ship would have been scuttled - - - which would explain the images of the Island resting on the ocean floor.

The Island as a UFO has some merit as being a plausible premise to the series.

VOLCANO

The ending of Lost was almost much bigger than what audiences saw. Nothing was that different. The characters and island were always going to be what they ended up being. But, one big addition would have changed things significantly: a volcano.

Lost executive producers Damon Lindelof and Carlton Cuse told the story to Entertainment Weekly. The summary is that Lindelof and Cuse wanted some kind of visual identifier to bring together the idea that this island was like a cork on a bottle of evil. The symbol was going to be a volcano, and it would have been set up in the third to last episode. In that episode, where we learned the backstory of Jacob and the Man in Black, Jacob was going to throw the Man in Black into the volcano, turning him into the smoke monster that debuted in season one.

Then, in the series finale, Locke and Jack were going to fight on the volcano as it got ready to erupt—kind of a natural-disaster ticking clock, with tremors, lava, and, eventually, good triumphing over evil. Lost even set up the idea of the volcano being on the island some time prior, in a third season episode that featured a Dharma classroom. And yet, it ended up getting scrapped.

The reason is simple: money. Producers and executives realized that all the volcano effects and potential location filming were going to be way too expensive for them to handle, especially when another final season set, the temple, ended up being more pricey than expected. So, in the end, the very literal interpretation of the island as evil was cut out and things were left a little more ambiguous. Same ending, Jack vs. Locke fighting on a rocky area, but just no volcano.

Money woes and writing by the seat of their pants.

Jeff Jensen, the waterboy for the series theorists, writes:

Carlton Cuse, Lost’s longtime co-showrunner, got the idea for the volcano in the early years of the show after visiting Hawaii’s Big Island with his family, taking a volcano tour and marveling at the landscape. He thought it would be cool if The Island had a volcano of its own. “We were always looking to cannibalize anything on Hawaii to aid in the visual storytelling of the show,” says Cuse. “We also thought of the island as a character on the show, so we were always looking for things that would give it more personality.” He didn’t have an idea of how the volcano could be used, “but it was something we banked and thought we could use downstream.”

The volcano stayed in the back pocket until the producers started developing Lost’s concluding seasons. The premise that developed over time was that the volcano was a mysterious place that forged the ticking, shape-shifting monster, the billowing black mass known as Smokey. By season 6, the writers had settled on the concept that the island was like a cork that bottled up all sorts of bad stuff, some volatile stew of spiritual dark matter stuff that would rob life of meaning and goodness if unleashed. “The question was always, how do you basically visualize and dramatize the idea that the island itself is all that separates the world from hellfire and damnation?” says Lost co-creator Damon Lindelof. “And the answer was the volcano.”

Lindelof and Cuse initially envisioned a finale in which Jack (Matthew Fox) and Smokey incarnate (Terry O’Quinn) would brawl over the fate of the island at Lost’s proverbial Mount Doom. “The volcano had been dormant for the duration of the series,” explains Lindelof, “but based on moving into this endgame, the island had become unstable and the volcano was going to erupt. We were going to have lots of seismic activity, and ultimately, there was going to be this big fight between the forces of good and the forces of evil, which ended up in the series manifesting as Jack and The Man in Black, in the midst of magma. Magma spewing everywhere!”

And so it went that Cuse and Lindelof decided to end Lost by reigniting an actual volcano and spraying their cast with actual skin-searing magma. Just kidding. But they were determined to fake it the best they could. “It would be visually stunning and really exciting for the audience,” says Lindelof. “After six years and around 121 hours of the show, we had shot literally every part of Oahu that we could for island scenes and flashbacks. So the idea that, for the finale, we could go to this new locale that’s going to look new and different and unique, primal and ancient and end-of-the-world-ish, that would be great.”

The volcano wouldn’t have come out of the blue. The producers planned to take us there in Lost’s third-to-last episode, “Across The Sea,” a major mythological outing that revealed the origin story of The Island’s long-lived protector, Jacob (Mark Pellegrino), and his unnamed brother, The Man in Black (Titus Welliver), and dramatized the latter’s transformation into Smokey. You would have seen Jacob drag his mother-killing sibling up the slopes of the volcano and toss him into its smoldering, monster-making crater.

And this is where the people who wrote the checks for Lost put a stopper in Operation: Magma Spew. At some point in all the plotting, planning, and prepping for season 6, ABC calculated that it couldn’t afford the transportation cost. Not helping the cause: The set for the temple, a refuge for Jacob’s chosen ones and a key location in the first half of season 6, turned out to be very expensive. Says Lindelof: “ABC was like, ‘Guys, we love you, and we’re letting you end the show; we can’t let you bankrupt the network in the process.’” And that’s how Smokey’s crucible — Lost’s version of Buffy’s Hellmouth — was re-imagined as a cave of light and the fight between Jack and the monster was filmed on the cliffs of Oahu.

Cuse says The Volcano That Never Really Was speaks to how practical factors, models of production, and s— happens variables affect the execution and finale form of big saga serials. Lost was marked by several such stories. Perhaps the most well-known involved Adewale Akinnuoye-Agbaje, whose Mr. Eko was a season 2 breakout. The producers loved writing for Mr. Eko (his showcase episode in season 2, “The 23rd Psalm,” written by Cuse and Lindelof, is one of Lost’s best) and envisioned a prolonged conflict with John Locke (O’Quinn) that would have made the middle seasons of the series quite different. When the actor abruptly ankled Lost the second season, the producers had to create a new story for Locke and other characters impacted by his sudden departure. (Akinnuoye-Agbaje stuck around for a few episodes to shoot Mr. Eko’s death-by-Smokey exit episode.)

Still, Cuse and Lindelof do think scratching the volcano was for the best. Lindelof says the producers came to believe during the writing of season 6 that it would be better if some ideas about The Island remained metaphorical or mysterious, things to be interpreted, not explained.

>>>> I have to disagree with the notion that Budget Killed the Volcano. You can use stock film footage of an eruption with close up footage of characters panicked reactions; and waves of ash clouds as they flee from the jungle.

The "monster making" volcano would explain how one is made but not WHAT it is. We got some circumstantial evidence of monster creation in Light Cave when Jack "rebooted" the island cork. But that was placed in the context of rebalancing good and evil not creating a monster. (Even though some say that the body of Jacob's brother was washed into the cave, knocking over the cork and thus creating the Man in Black.)

But if the volcano was supposed to be the climatic star of the Series 6 final episodes, why did the production crew spend so much time and money on the Egyptian symbols and the temple if the temple concepts were immaterial to the resolution of the story?

This story shows that the show runners and writers were struggling to find a way to end the series. There were too many ideas but not enough continuity to resolve the series story lines. Instead, it was decided not to answer the questions but create a final "character study" of the cast as they passed into the afterlife.

THE BASIS OF LOST

One of the grand mysteries to unify the LOST mythology is the scientific key to help explain everything and everyone.

If we turn to science and what could induce human behavior, we find one portion of the brain that many have deemed the gateway to the soul.

René Descartes once described the pineal gland as “the principal seat of the soul.” Though medical knowledge has vastly progressed since then, here are a few things you might not have known about this critical organ. It was recognized as an important organ since the time of the ancient Greeks (130-210 CE).

Descartes was fascinated with the pineal gland, considering it “the place in which all our thoughts are formed.” Scientists now credit that function to the neocortex.

Descartes thought that within the pineal gland, "tiny animal spirits" were like “a very fine wind, or rather a very lively and pure flame,” feeding life into the many small arteries that surround the gland. This was likely due to his abysmal understanding of anatomy and physiology.

The pineal gland was commonly dubbed the "third eye"  for many reasons, including its location deep in the center of the brain and its connection to light. Mystic and esoteric spiritual traditions suggest it serves as a metaphysical connection between the physical and spiritual worlds. 

It is a tiny gland, located very deep in the center of the brain. It gets its name from its pine cone-like shape, (French pinéal, or "like a pine cone"), itself from the Latin for pine cone (pinea). However, at about one-third of an inch long in adults, it's smaller than your average pine cone.

Though located in your brain, the pineal gland is actually a crucial part of your endocrine system   which regulates major bodily processes such as growth, metabolism, and sexual development through the release and control of hormones. The gland translates nerve signals from the sympathetic nervous system into hormone signals.

Because the pineal gland was the last of the endocrine structures to be discovered, scientists considered it a "mystery organ."  Today, we know that unlike much of the rest of the brain, the pineal gland is not isolated from the body by the blood-brain barrier system.

As scientists have learned more about the functions of the pineal gland, they’ve learned it synthesizes the hormone melatonin from the neurotransmitter serotonin. Melatonin production determines your sleep-wake cycles and is purely determined by the detection of light and dark. The retina sends these signals to a brain region known as the hypothalamus, which passes them on to the pineal gland. The more light your brain detects, the less melatonin it produces, and vice versa. Melatonin levels are highest at night to help us sleep.
 
Melatonin inhibits the release of pituitary reproductive hormones, known as gonadotropins, from the pituitary gland,  affecting male and female reproductive organs. In this way, melatonin—and therefore the pineal gland—regulates sexual development.

In the LOST mythology, many key plot points can be related back to the pineal gland: the gateway to the soul; the third eye (which connects to ancient Egyptian rituals); animal spirits (such as Hurley's bird or the smoke monster); and the hormonal relationship (sex) between male and female characters (including the fears, lack of growth or social development). There was also the cross-connection between the physical and metaphysical in regard to being in two places apparently at the same time (the island and the sideways world).  Since the pineal is a center for both growth and metabolism, it is a life and death organ. Any disruption of the gland function can cause serious health problems.

Depression, peptic ulcers, and sexual dysfunction may be exacerbated by a deficiency of melatonin. Stress and dietary habits may lead to deficiencies of both serotonin and melatonin. Melatonin inhibits the release of cortisol via the release of vasotocin. Abnormal circadian rhythms of cortisol may occur in states of decreased melatonin. A circannual rhythm of melatonin has troughs associated with peaks in the incidence of peptic ulcers and psychotic depression.

The pineal gland secretes a single hormone—melatonin (not to be confused with the pigment melanin). This simple hormone is special because its secretion is dictated by light. Researchers have determined that melatonin has two primary functions in humans—to help control your circadian (or biological) rhythm and regulate certain reproductive hormones.

A body's  circadian rhythm is a 24-hour biological cycle characterized by sleep-wake patterns. Daylight and darkness help dictate your circadian rhythm. Light exposure stops the release of melatonin, and in turn, this helps control your circadian rhythms.

 

Melatonin secretion is low during the daylight hours and high during dark periods, which has some influence over your reaction to photoperiod (the length of day versus night). Naturally, photo period affects sleep patterns, but melatonin’s degree of impact over sleep patterns is disputed.

 

But the theme of dark vs. light was apparent in the LOST world. The fact that a person cannot sleep can lead to fatigue, memory loss, confusion and mental problems. When one's sleep pattern is disrupted to the point that the person cannot tell between day time and night time, serious brain function can be inhibited including memory and reason.

 

Pineal tumors may manifest symptoms from the blockage of the flow of fluids to the gland which can cause some of the common presenting symptoms of these tumors, which including headaches, nausea, vomiting, seizures, memory disturbances and visual changes. These elements were present in LOST by the fact that many characters saw non-island visions (Jack's father, Kate's horse), headaches and bloody noses to seizures (the island effect that killed Charlotte) and the memory losses (or lack of learning the characters showed during the island time). 

 

In aging, the gland may begin to harden like calcium in the the development of teeth. Science studies indicate that this may cause memory loss or dementia.

If one was going to form a scientific theory to base the LOST premise, the pineal gland would be an good choice. The damage or disorder of the gland could explain many of the LOST elements. From that point, one could speculate that the main characters had pineal gland issues which caused memory disturbances and acute dementia. This could be the basis for any mental issue theory to explain the premise of LOST: the hidden mental states of group patients suffering from similar diseases, linked together by a trial study or protocol (the images of the Dharma institute probing them).

ANOTHER LOST SHOW

Another plane crash survival television series is about to hit the airwaves. But this time, it is in South Korea.

The Korean web entertainment site, dramabeans, reports that network MBC’s new mystery drama Missing 9,is about to take off by introducing audiences to the nine plane crash survivors who must fend for themselves on a remote island.

Sound familiar?

The teaser opens with a plane suddenly plunging into its descent. Inside the luxurious private plane, oxygen masks dangle from the ceiling and passengers hang on for dear life as water surges into the cabin. Viewers will then meet the first passenger, “leader" Jung Kyung-ho (One More Happy Ending), who plays a has-been pop star who used to lead an idol band, but is now barely hanging onto his celebrity status. Though he’s hit rock bottom in his career, he finds the strength and determination to lead the other stranded victims in their fight for survival.

Sounds like the Jack character in LOST.


Next,  Kim Sang-ho (Bring It On, Ghost) plays the President of talent agency Legend Entertainment, and Oh Jung-se (Beautiful Mind) as the loyal Manager to Jung Kyung-ho.  

Sounds like one of the LOST couples, maybe Sun and Jin.

Chanyeol (To the Beautiful You) plays the handsome “superstar,” a renowned artist/composer who used to be in the same band as Jung Kyung-ho, but found greater success as a solo musician.

Sounds like the jealousy character, like the anti-Charlie.

Choi Tae-joon (Flower in Prison) assumes the mantle of the Troublemaker and plays the former bandmate of Jung Kyung-ho and Chanyeol, who ventured into acting following the band’s fallout and was enjoying his second career boom.

Sounds like the Sawyer character.

Lee Sun-bin (Police Unit 38) plays the top celebrity of Legend Entertainment. She’s the "Princess" character, who doesn’t mince words, but hides a dark secret.

Sounds like Shannon.

Tae Hang-ho (Moonlight Drawn By Clouds) plays the Head Secretary of Legend Entertainment, and Ryu Won (Uncontrollably Fond) is the mature and accountable billboard model and Hallyu star, and also the group’s “Outsider.”

There were plenty of outsider characters in LOST, but mature and accountable fits LOST's Rose.

Lastly, Baek Jin-hee (My Daughter Geum Sa-wol) taking on the role of Jung Kyung-ho’s rookie stylist and eventual love interest who becomes the sole remaining survivor of the nine, ergo the only “Eyewitness” to the devastating plane crash and its aftermath. The country will turn to her for answers, but how much of the harrowing truth she’ll reveal is uncertain because there’s something holding her back.

Sounds like the Kate character.

The show's teaser copy reads, “Top Star x Private Plane x Emergency Landing,” ending with “9 survivors, a mysterious corpse, and just one eyewitness.”

Local critics don't think the series will get much attention when it airs. There were alleged casting and script problems prior to launch.  Korean dramas often use large casts to push several different story lines forward. So it not unusual to cast 9 main actors.

But the premise is very similar to LOST with the exception that the Missing 9 characters actually know each other prior to the plane crash. That may be the only real story twist as the celebrity back stabbing and secrets get unraveled on the island.

THEORY OF ANCIENT MINDS

In the television re-boot of Westworld, one of the characters recently explained the theory behind the level of "consciousness" in the robotic hosts.  He explained a theory that had been kicked around since the mid-1970s. (Again, when sci-fi shows base their own mythology on actual theories, the premise of the show is enhanced in viewers.)

Bicameralism (the philosophy of "two-chamberedness") is a hypothesis in psychology  that argues that the human mind once assumed a state in which cognitive functions were divided between one part of the brain which appears to be "speaking", and a second part which listens and obeys—a bicameral mind. The term was coined by Julian Jaynes, who presented the idea in his 1976 book The Origin of Consciousness in the Breakdown of the Bicameral Mind, wherein he made the case that a bicameral mentality was the normal and ubiquitous state of the human mind as recently as 3000 years ago.

According to Wikipedia, Jaynes uses governmental bicameralism as a metaphor to describe a mental state in which the experiences and memories of the right hemisphere of the brain are transmitted to the left hemisphere via auditory hallucinations. The metaphor is based on the idea of lateralization of brain function although each half of a normal human brain is constantly communicating with the other through the corpus callosum. The metaphor is not meant to imply that the two halves of the bicameral brain were "cut off" from each other but that the bicameral mind was experienced as a different, non-conscious mental schema wherein volition in the face of novel stimuli was mediated through a linguistic control mechanism and experienced as auditory verbal hallucination.

The bicameral mentality would be non-conscious in its inability to reason and articulate about mental contents through meta-reflection, reacting without explicitly realizing and without the meta-reflective ability to give an account of why one did so. The bicameral mind would thus lack metaconsciousness, autobiographical memory and the capacity for executive "ego functions" such as deliberate mind-wandering and conscious introspection of mental content. When bicamerality as a method of social control was no longer adaptive in complex civilizations, this mental model was replaced by the conscious mode of thought which, Jaynes argued, is grounded in the acquisition of metaphorical language learned by exposure to narrative practice.

According to Jaynes, ancient people in the bicameral state of mind would have experienced the world in a manner that has some similarities to that of a schizophrenic. Rather than making conscious evaluations in novel or unexpected situations, the person would hallucinate a voice or "god" giving admonitory advice or commands and obey without question: one would not be at all conscious of one's own thought processes per se. Research into "command hallucinations" that often direct the behavior of those labeled schizophrenic, as well as other voice hearers, supports Jaynes's predictions.

There is application to this theory to LOST. Several fans once remarked that many characters, mostly secondary ones like the Others, were more rote in their thinking and actions than a normal human being. Some tied the work of the Dharma scientists (including mind control) with the possibility that people were brought to the island to supplement, interact and experiment with "conscious androids."

 It is not out of the realm of possibility. LOST's world collides with many random scientific disciplines. Ben was a master of mental manipulation in order to seize and retain his power. Likewise, the idea of reversing the brain's mental polarity back to the ancient way of processing thoughts (3000 + years ago) would back track to the world of ancient Egyptians, another major theme.

As in Westworld, one really does not know who is real and not real on the island. How did some people survive the plane crash, while others did not? Why did the characters have constant "flash backs?" Was it that their "mind" was being reprogrammed with virtual memories? And if these firmware updates tried to over write existing memories, is that why some characters lashed out, had mental breakdowns or began to have nose bleeds?

DARK MATTER MODEL

Science wants to have unified answers to the Big Questions. So did LOST viewers.


A new physics model of the universe, formulated by Guillermo Ballestros at the University of Paris-Saclay in France and his colleagues, may be the answer to  explain dark matter, neutrino oscillations, baryogenesis, inflation and the strong CP problem.


Dubbed SMASH, the model is based on the standard model of particle physics, but has a few bits tacked on. The standard model is a collection of particles and forces that describes the building blocks of the universe. Although it has passed every test thrown at it, it can’t explain some phenomena.


For example,  science does not understand dark matter, the mysterious substance that makes up 84 per cent of the universe’s mass. Nor why there is more matter than antimatter. Nor why the universe grew so rapidly in its youth during a period known as "inflation."  

Something is still fundamentally missing from the standard model. Scientists think they new "new" particles to help balance or explain the formulas.


Some models, like supersymmetry,  add hundreds of particles – none of which have been spotted at colliders like the LHC. But SMASH adds only six: three neutrinos, a fermion and a field that includes two particles.

SMASH is several theories smashed together. It builds on Shaposhnikov’s model from 2005, which added three neutrinos to the three already known in order to solve four fundamental problems in physics: dark matter, inflation, some questions about the nature of neutrinos, and the origins of matter.
SMASH adds a new field to explain some of those problems a little differently. This field includes two particles: the axion, a dark horse candidate for dark matter, and the inflaton, the particle behind inflation.


As a final flourish, SMASH uses the field to introduce the solution to a fifth puzzle: the strong CP problem, which helps explain why there is more matter than antimatter in the universe.

Why is this important? Curiosity about the heavens has been the main focal point of humanity from the very beginning. Our first ancestors looked up to the sky and wondered what it was. The sun and the moon orbits fascinated people. They used the sky to help organize their lives to correspond to the seasons. Some sociologists believe that the questions about nature helped develop mankind's brain function to be the planet's alpha species. 


To unlock the building blocks of the universe may be the key to understanding everything: what causes cancer, why humans have a limited life span, what elements of the universe are or are not on Earth?


As these questions continue to puzzle science, they are also used by writers to speculate on how the lack of knowledge can be captured into dramatic prose. The "what if" premise of film and television shows stokes the curiosity of the viewer. If there is a real sci-fi backbone in the stories, it can mentor people to find scientific careers (as many NASA employees admit Star Trek did for them.)


LOST had an opportunity to inspire a new generation to science if it captured the essence of any new theory about the universe in its mythological story foundation. But it did not. It still remains a disappointing lapse by the show runners. These new scientific theories could have helped explain the time/space tangents, the strange EM radiation and the Numbers used in the Hatch.

HEADING DOWN THE ROAD

As October creeps toward Halloween, with scores of creepy clowns popping up along the roadsides of America, the season gets us back to one element of LOST - - - dream theories.

But in this holiday season, nightmares.

One can broadly classify dreamers into two categories:

1. The upbeat, positive daydreamer who fantasizes about a better life for him or her self.

2. The depressed, anxiety ridden, negative sleeper who tosses and turns at night with ghastly visions of danger and horror.

Many scientists believe that dreams during sleep have major conscious contributions to a person's life. They believe that dreams are the mind's computer running simulations of potential events to gauge how the person (sleeper) will react if the simulation comes true. This is part of a probable ancient self-protection mechanism to teach instinct and survival skills.

The human mind is a complex thing which probably has hard wired in itself self-preservation.

So, one could presume that people who have happy dreams are living happy waking lives.

The counter part to that presumption is that people who have nightmares are living unhappy lives.

There is probably a gray area of people who lead mixed waking lives (people who are caught in a rut, dream of better things, or at times fear the worst.)

When you look at the scope of LOST's story lines, most center upon what would consider a negative path. The drama that incorporates danger, death and violence is easier to comprehend and compel viewership.

Each of the main characters on the show had deep seeded concerns about their lives. There were more negative emotions driving character actions than happy-go-lucky personalities.

Many characters had deep, unresolved emotional issues such as abandonment, abuse, social anxiety disorders and irrational fears. Many characters were heading down the road to nervous breakdowns, anti-social behavior or addiction/retreat from society.

So it is no wonder that these characters "wound up" together in the same place.

The place (and what it represents) is a matter for another discussion. But the series may have been an attempt to work through the characters underlying secrets, unresolved conflicts and personal angsts in the form of living island nightmares (real and imagined).

SIMULATION

One premise of LOST was that it was only a simulation of reality.

It could have been a video adventure game with the characters being avatars.
It could have been an interconnected dream experiment.
It could have been a mock mental warfare simulation by Dharma and the U.S. Military.
It could have been an imaginary dream of a coma patient.

Or it could be our reality which itself is not real.

Scientists work to find out how our world actually works.
Recently at the American Museum of Natural History, scientists debated whether or not the universe is a simulation. The answers from some panelists may be more comforting than the responses of others.

Physicist Lisa Randall said she thought the odds that the universe is not "real" are so low as to be "effectively zero."

But on the other hand, celebrity astrophysicist Neil deGrasse Tyson, who was hosting the debate, said that he thinks the likelihood of the universe being a simulation "may be very high."

The question of whether or not we know that our universe is real has vexed thinkers going far back into history, long before Descartes made his famous "I think therefore I am" statement. The same question has been explored in modern science fiction films like "The Matrix" and David Cronenber's "eXistenZ."

But most physicists and philosophers agree that it is impossible to prove that we don't live in a simulation and that the universe is real. Tyson agreed, but said he would not be surprised if we were to find out somehow that someone else is responsible for our universe.

If someone else is responsible for our universe, then we would call those persons or things gods.

In any higher order planetary relationships, the most intelligent, strong, technological and adaptable species are the alpha species who can assert their will on the rest of the known world. In human evolution, mankind had to have come to the realization that it was the alpha species. But instead of adopting a self-sufficient, own legacy approach to species self-esteem, ancient and disconnected cultures adopted religion and worship of superior beings as being responsible for their own self-awareness and life cycles.

Some could argue that religion is a pagan belief system because they did not have the means to investigate their true world. Except, that ancient cultures did have the brain power to solve and predict thousand years of  astronomical cycles with the accuracy of our current atomic clocks. Ancient people were more well versed in nature and the effect of cycles on human existence. They were the first to understand and to ponder the question of whether we are alone in the universe.

Ancient Egyptians constructed the pyramids in 20 years. Our modern technology cannot replicate that feat. Generally, the public does not think ancients were very advanced in their thinking. But they pondered the same "big" questions we do today.

BEN'S RAGE

We know this is not true: LOST was not about Ben.

Or was it? We know in reality that Ben was going to be a throw-away character; a leader of the villain clan who would have been killed by the survivors as they marched toward Lord of the Flies madness. But Michael Emerson's strong acting performance soon made Ben a fan favorite, and a new story engine for the series.

People have theorized that the LOST mythology centers around Jack, or Hurley but in the beginning we know from the preproduction notes that Kate was supposed to be the focal point for the series. But again, that changed when Jack in the pilot became the instance face of the series. Instead of killing off Jack to "bump up the island drama," Jack became the leader of the survivors instead of Kate.

So the show has a history of changing course in mid-stream.

You can apply just about any centrist theory onto Ben.

It can lead to a compelling case that the workings of the show were in Ben's head.

For example, Ben has spinal cancer. He dreams/prays/desires a miracle surgeon. And right away, a great surgeon literally falls out of the sky to save his life. How does that happen?

Considering that Ben had the means, opportunity and wealth to leave the island and do whatever the hell he pleased, why he was stuck on the island waiting for fate to take his life was odd. There are a few explanations for this behavior. One, he was scared of living the island because he may not be able to return. Two, he was the embodiment of the island's power, like Jacob, so he would be naturally healed because he was the island's native leader. Three, he really did not have cancer - - - it was a myth or phobia or a nightmare.

By putting the context of the show into the mental state of Ben could explain many contradictory aspects of the story lines.

We know Ben was an insecure child. He was raised by a drunken father. He was blamed for his mother's death. He was quiet and introverted, he made no real friends. Everything we saw and heard could have been the transcript of a lonely child's imagination.

A telling point is when Hurley invites Ben into the church reunion to "move on" to the next plane of existence. However, Ben passes on the opportunity. He has personal things to work on. Again, why would Ben even show up in the main characters' purgatory reunion world?

The sideways world appears to be one made for "second chances." In it, Ben is a lowly school teacher. He is taking care of his ill father. He does not have any friends, only colleagues at work. He is meek and naive. But there is a part of him that is a dreamer. He thinks he can help other people, that he can be a strong leader, and that he can find happiness (maybe as a step dad to Alex). But in this alternative universe, nice guys still seem to finish last.

But if you view the island world as a prequel to the sideways fantasy world, it could make some sense. Ben dreamed of being a powerful and wealthy man. He dreamed of the island fantasy because in his "real" life (which the sideways world is based upon) is so dull. When Ben dreams of being special, his mind races to create nightmares based upon his anxieties such as falling in love with women he could never have (Juliet and Kate were island examples.)

Each of the main characters could represent the problems in Ben's life. Hurley could represent the unlucky lottery winner. Locke could represent the trapped personality in both career and personal life. Kate could represent either women who don't find him attractive or his need to escape his routine. Jack could represent his fear of success. Desmond could represent his fear of failure. As he tries to figure out how to change himself, his dreams attempt to try to change these fictional characters into better, stronger people.

As we have discussed, researchers do believe that the purpose of dreams is to allow a person's mind to make calculations and "what if" variable runs to find solutions to waking problems. The variables in Ben's life could be represented by the main characters and how they are trying to cope with the various hard-wired problems in Ben's persona: including rage, desire, needs, fears. It seems that Ben's biggest problem is that he feels that he is not acknowledged or recognized as being a good person. He is merely a background player in the sideways school. Only one of his students finds him approachable and helpful. His colleagues dismiss his talk as being merely fiction or a wild dream. He is a dog without a bark or a bite.

So, the show is a series of dreamscapes showing Ben how he could be more like Jack, Locke, Kate or Hurley. How can he find love. How can he be more open and confident. How can he get people to listen to him. How can he get people to follow his lead. How he can lead a better life.

But it is Ben's pent-up rage that feeds a long pattern of nightmares. His mind is sidetracked by personal failure that he envisions himself as a diabolical tyrant who acts like a god-like figure over stronger willed people. Perhaps by the time he has the sideways church conversation with Hurley, Ben has learned that he has to let go of his inner rage - - - and to also let go of all the imaginary characters that he created to help him cope with his miserable real life.

Ben has to "wake up" from living in a fantasy world in order to "move on" in his real life. The sideways world was closer to reality than we thought; it was really the last act in Ben's elaborate self-examination. He decided that he no longer needed the main characters to help him figure things out in the real world. He decided to let them go (and symbolically be erased by the white light at the end of episode).

From that point forward, Ben had the mind-set of cleaning up his act. To begin to work on how mend his fences with his father (as Locke had done in the sideways world),  and to work on finding true companionship with Rousseau and Alex.

SOAP OPERAS

The creator of the anime series, Baccano!, had a line in adapted episode which probably probably sums up LOST: 

Stories never begin, nor do they end. They are comprised of people living. An endless cycle of interacting, influencing each other, and parting ways.

It was a way to try to describe a complex and layered novella series with a wide range of characters. In the end, the confusion comes down to when a drama-adventure series turns into a standard soap opera.

Soap operas were early transpositions of live theater acting to the television audience. A weekday drama airing during the daytime, intended for women (particularly "homemakers"/"at-home moms"), soaps were known for excessively emotional acting and shallow plots and scripts. Soap operas are so-called because the earliest dramas, which originated in the 1950s and 1960s, were sponsored by soap-making companies.

When the LOST show runners continually defended their series from critics, they inferred that the critics did not get it: the show was about character development and not explanations of sci-fi story lines or mysteries.

The one difference between LOST and a standard soap opera is that LOST did have complex plots and scripts, but it had only vague and shallow answers to the mysteries and questions the plot lines posed to viewers. Viewers, who were as rabid as daily soap watchers, spent years trying to figure things out to minute detail. The problem with LOST is that it was not a long running soap opera in terms of fixed characters and slow moving to tedious cliche plots. LOST fans were promised by the creators and writers that it would be different; that if fans kept with them they would get answers to their questions. 

After Season 6 concluded, the show runners claimed that they had answered most of the "big" questions which set off another round of fan debates and arguments. However, Carlton Cuse said afterward, "Very early on we had decided that even though LOST is a show about people on the island, really, metaphorically, it was about people who were lost and searching for meaning and purpose in their lives. And because of that, we felt the ending really had to be spiritual, and one that talks about destiny. We would have long discourses about the nature of the show, for many years, and we decided it needed to mean something to us and our belief system and the characters and how all of us are here to lift each other up in our lives."

Damon Lindelof  explained, "For us, one of the ongoing conversations with the audience and there was a very early perception, was that the island was purgatory and we were always out there saying 'It's not purgatory, this is real, we're not going to Sixth Sense you.' And we felt it too that the show had to become sort of meta in this way. And so the writers said, 'Obviously, there are all these mysteries. But what if we answered a mystery that was never asked, what's the meaning of life and what happens when you die?'"

Damon added that the idea for the "Flash Sideways" world came about between the planning of seasons four and five because "We were out of flashbacks and we were done with flash forwards. So we started to think about, what if we sort of Trojan horsed in a paradoxical sideways story line?"

So basically, the show creators admit that they used soap opera techniques of changing course, mixing up the characters, adding strange and disturbing elements in order to keep the audience engaged in the show despite the show's writers running out of original ideas.

And even if the hidden agenda of the show was to ask The Big Questions, what's the meaning of life and what happens when you die,? LOST failed to deliver because there was no clarity on when the main characters died and where did their souls go. Was the island heaven? Was the island hell? Was the sideways world purgatory? Or heaven? Or was the O6 arc purgatory (as in Jack's breakdown and suffering return to the island)? Or was the O6 arc heaven (for characters like Walt who was in a normal family with school friends leading a normal life)? Or was it up to each viewer to impress their own belief system on to the events to come to their own conclusions?

Critics of the final season bring up the "more questions than answers" response to this narrative as proof that the show lost its bearings after Season Two by throwing disassociated concepts at the writers wall to see what would stick.

Fans of the final season are content with the mere fact that the main characters grew into a group of friends at the sideways church. That the loners, misfits and troubled souls could find a measure of happiness in the end, whether it was actually real or an illusion.

ORWELLIAN EXPERIMENTS

George Orwell's novel, 1984, sounded an alarm against a government dystopia run by Big Brother. Cameras were spying on citizens. Armed police forces kept citizens in line. There was a single groupthink.

The rigid society was made by taking away everyone’s free will with the power of fear.

That seems to be the basic formula for the island.

And since Dharma has tenets of militarism at its roots, one could assume that the island was set up for various experiments on behalf of the government, or its power elite.

Elections are messy things. Sometimes an outsider wins. Elections are expenses. Politicians feel it is beneath their stature to beg for campaign donations. If you can make the election process more of a show than a real democracy, by imposing a strict code of conduct on everyone, the authoritarian leaders will win.

But how do authoritarians go about crushing the independence of their people, especially in countries like the United States were individualism is treated as a sacred value? You start experimenting on human subjects on how to reshape their thinking to conform with a new order.

You prey on the weakest links in society: the loners, the malcontents, the criminally inclined anti-social types who do not fit into the parameters of the American Dream. LOST's main character list is filled with these types of people.

You take the disenchanted and disenfranchised individuals and make them believe that the "group" is their new family. That was what Locke was searching for his entire life. In some respects, Ben was also searching for a "better" family unit. Kate was running away from her family. Sawyer was trying to avenge his lost family innocence. 

So the island was a series of human experimentation programs. Room 23 was clearly a mind control station. Another station just spied on the other stations - - - using paranoia and information to manipulate others. 

But the biggest motivator on the island was fear. The unpleasant, highly charged emotion of dread and pain is known to be an easy way to change a person's attitude or behavior.

If anything could be said about the LOST ending, in the context of reshaping the individuals to identify and relate to the group of island survivors proves the point that the island can bring different people together, change their principles, free will, associations and connections into one happy family unit.