Lindelof: There were certain things that we were already guided by and locked in on. The idea that the island was a cork, like literally stopping up hell — we were all Buffy fans, particularly in the season when Goddard and Fury were hanging around quite a bit. We did refer to the island as being a cork in the hellmouth.
By the time Jacob explains that to Richard Alpert in the final season, that was an idea that was there for a very long time. Pretend I never said anything. So I quit my theorizing right there. Lindelof: The idea that the island was moving was one of the crazy ideas that J. Certainly once we had the [writers] room together in season one, I remember having those conversations, because Carlton was pitching it in terms of, like, constellations or something like that. We all always loved the idea and wanted to keep it as a secret.
Someone is basically talking to him. Aloha to Lost , the post-finale special: Those motherfuckers, J. I was constantly pestering them to know what was happening. We will tell you how the series ends. And then you can decide whether you want to open it or not. To this day, they swear they were going to write the ending down, put it in the envelope, and leave it to me to decide whether I wanted to open it or not.
Damon and I went to the Tate Modern, and we decided to walk back [to our hotel]. Lindelof: Yes, that is true. Over a two-week period in the spring of , the Lost writing staff gathered, as a group and in individual writing sessions, to craft the final episode. It was even more intense with Los t because everybody realized that it was such a significant thing and would probably be a huge demarcation point in all of our careers.
Sarnoff: Our feelings about the finale were always, always , that it was going to have to be very emotional and character-based because we found when we gave answers to mysteries and stuff like that, the audience would normally reject them. Mystery shows like that are so tricky because nobody wants the mystery to end, but they want answers. Cuse: I remember very clearly just trying to stick to the same process that had gotten us to the th and st episode. Lindelof: I spent a disproportionate amount of time trying to figure out if there was a way to get Walt into the finale, other than being in the church.
He looks so different than he did in the pilot, and everybody else in the church kind of looks like they did in season one. Cuse: Malcolm [David Kelley] grew up so we had to figure out how to make that work in the context of our story.
It was a conundrum trying to figure out how we could bring that character back, but it felt like a missing piece to not do that given what happened to him. Cuse: There was no way to answer all the open questions that existed across the prior episodes of the show.
In fact, an attempt to do that would just be didactic. That was sort of what answers look like. Lindelof: I spend a lot of time really anxious about whether or not something was good or whether or not people were going to like it. I also got cancer in season four of the show, and it was an experience that brought us all very close.
So it had been an intense time in the last couple of seasons, and it was hard not to be aware of how much the show meant to us but also how much it meant to other people. I was like, Of course. And he sent us that Christian scene [with Jack in the church], the first draft, like literally right after he wrote it, just to see what we thought. Adam Horowitz, writer and executive producer: I remember feeling, Wow, this is it.
And it was beautiful. Note: That did not always work! But the details surrounding the finale were in such demand that they were guarded with extra intensity. Holloway: We were all so anxious to get the last script because we were like, How are they going to get out of it? Michael Emerson Benjamin Linus : That last script was a high-security script.
When you got pages, which were usually the day you worked, they were printed on red paper, which is unreproducible. This was especially high stakes. This could not get out into the world. Maggie Grace Shannon Rutherford : They really enjoyed the spy games of getting people scripts. It was early then, before Marvel took it to another level of paranoia. I had to even purchase a special mailbox that had a lock on it so that they would be able to leave the scripts for me.
We just kinda strapped it to a bench in front of my house. If someone really wanted, they could easily just steal the whole mailbox.
Yunjin Kim Sun : I got the script, but it was thinner than I expected. A lot of the scenes that I was not involved in were missing. But it was like that the last five or six episodes. In season six, we had a lot of pages missing. The whole exchange between Jack and his father, Christian Shepherd, I definitely did not get those pages. Emerson: My whole gig at Lost was kind of operating in the dark.
I got comfortable with that. Are you trying to get the ending out of us? Why did I want to get everyone back to the church? Why was I reawakening everyone, what was my objective? At the end I got there. I knew what was happening as we were filming it. Cuse: We were really concerned about anybody figuring out what was going to be happening in the big church scene. So [during production] we hired two extras that looked like Sun and Jin and we put them in wedding clothes and we put them outside the church.
Kim: What? No, no, no. There was no double me in a wedding dress. No way. Garcia: I believe they had a woman who was like a Sun double dress up in a wedding dress and they would shuttle her periodically [to set]. I never met her. Kim: Wow. I had no idea that was happening. Production of the Lost finale, which took place in March and April , was an emotional experience for members of the cast and crew, who knew it would be their last time shooting in Hawaii.
The work could be physically taxing, daunting, and occasionally a little scary. There was a bit of a mix-up involving a knife. Holloway: I remember the [first] day we came to work, we were working on the beach, all the chairs around, and we all looked at each other, smiling. What do you think? Cusick: I think people were happy that it was ending. I was one of the few that was like, We could do another season. I think at that time I was I remember Matthew [Fox] running down the hill and diving at me and I thought, This is going to leave a mark.
Yes, they did. Holloway: I remember how crazy our stunt guy was. I loved him. He was my stunt guy all those years and the stunt coordinator at that point: Mike Trisler, ex-fricking Special Forces guy. Just jump, you know?
And he went ahead, 70 feet off that cliff. They have plaques on that cliff of the people who have died. Oh, shit. That was scary. Bender: We were really up there [on that cliff]. The actors were really up there. It just is. I think our line producer was really reluctant to have a shoot up there and for all the right reasons.
Because it was coming off of the ocean and the waves were breaking, the spray was up there at times, which made it visually fabulous, but also all the more dangerous. Maybe they turned off their TVs in disgust. But that's not where the show, or even the scene, ends. After Christian assures Jack that the two of them are real, everything that's ever happened to Jack is real, and that all the people in the church most of the other "main" characters throughout the show are real too, Jack asks, "And they're all dead?
Christian replies, "Everyone dies sometime, kiddo. Some of them before you, some long after you. Think about that for half a second. If the entire cast of characters from Lost died in the plane crash before the series premiere, how could some of them die before or after Jack?
That doesn't make any sort of sense from a timeline perspective. Christian explains that "there is no 'now' here," and that the place they occupy in this moment — whether you want to call it purgatory or something else —exists outside of time. But there's more: When Jack asks "Where are we, Dad? The most important part of your life was the time that you spent with these people.
That's why all of you are here. Nobody does it alone, Jack. You needed all of them and they needed you. Again, let those words sink in. The plane ride from Sydney that never landed in LA? What happened that was so important? Did they all just really bond over their affection for the Oceanic Airlines brand of peanuts? There's a mantra repeated often in Lost : Whatever happened, happened.
It's meant as a motto to say that you can't change the past even if you can travel to it , but it's important here, too: Whatever happened on the Island happened. Yes, now. He died, but instead of letting go and moving "on" to Heaven or wherever you believe one moves on to after death , he woke up in this weird Purgatory-esque place where the Oceanic plane didn't crash, where he had a son and where none of the plane crash survivors recognize each other.
Charlie went to the same place when he died in the Looking Glass station. Locke the real one went there when he was strangled off-Island. Sun and Jin go there after drowning in the submarine. These are all deaths that occur at different times, during events of the show that actually happen y'know, in the context of the fiction.
Not really, no. If the overwhelming evidence within the show itself isn't enough to convince you, then the show's co-creator Damon Lindelof in an interview with The Verge , laid it out very plainly himself.
I think a big part of that is because I always invested in the series because it was about flawed people who using my best Barbra Streisand voice need people.
And if that's not how you watched it, sure, I can see the point. The problem, in that respect, is that Lost kept stepping in piles of shit it on its way to the ending: Eloise Hawking, and Katey Sagal's random episode, and being stuck in the '70s. But Lost 's finale was a beautifully simplistic finish to an often convoluted series. It asked viewers to imagine that nothing matters but people, and that, in its own way, is unimaginably perfect. To accurately assess that finale, you kind of have to go back to the beginning of Season Five.
At this point, the Oceanic Six Sun, Kate, Jack, Hurley, Sayid, and Baby Aaron have escaped the island and are attempting to lead normal lives while being haunted by the fact that they've abandoned the rest of the castaways on the island, which has been thrown into a time loop. Locke manages to escape the island through death, reappearing before the Oceanic Six and begging them to return.
The season's multiple timelines, time jumps, and tertiary characters hello, Widmore and Eloise? And that's the biggest issue. Even as it was spiraling toward a final season, Lost kept introducing new questions it never wanted to answer.
The series, as a whole, was always about surviving this plane crash and escaping the island, and Season Five could have ultimately operated as a season where the six people who left realize the importance of humanity without the extreme additional mythical, sci-fi elements.
Instead, it launched a literal reset—a hydrogen bomb detonation at the end of Season Five blows up part of the island and effectively changes history, rendering the plane's initial crash obsolete and alters a new timeline we see play out in Season Six. That launched the final march to a Lost conclusion — a resolution that explains that it's people, not mystery, that drives the series forward.
The series spent a brilliant final season creating a thoughtful, albeit sometimes incomprehensible, alternate timeline that followed characters through a whole different existence where they managed to find one another anyway. Each character in the final season comes to reconcile both of their worlds, realizing that the one constant is the people they've shared their time with.
And the finale culminates in a cast of characters saving Jack, the man who spent six seasons trying to save all of them. From the beginning, Jack and Locke represented "man of science, man of faith" respectively, and the show always wanted to prove that it's the faith in people that matters most. It's a potentially hokey premise, but there is something beautiful in the fact that there is so much of the series that we don't understand, and yet it doesn't matter.
The finale requires a certain level of faith that we're uncomfortable with Through the final season, Lost made the move to shed a lot of the baggage it had introduced along the way.
Part of that irreverence had to do with Lost creators biting off more than they could chew, but it also had to do with a refocusing in its final season that aimed to center the series on its intended purpose of "people first.
For the emotionally inclined, it's the Lost equivalent of " you're my person. So instead of spending the final season trying to land a whole laundry list of successes, it took one final swing and introduces the alternate timeline to prove that even in two different realities, we can all be tied together with human relationships.
The finale itself is the culmination of a refocused premise that shouldn't have been ignored so overtly for a season and a half.
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