THE FINAL LOST

Sayid's "insanity" did not seem to be the same as that of Rousseau or Claire. For one thing, Sayid was already struggling with his mental state at the time. He didn't understand why he was on the island again, and he had just killed Ben again. My guess is that Sayid wasn't really sick, Ghost Jacob/the temple water brought Sayid back, and the MIB just manipulated an already confused and vulnerable man.

He could have still been a candidate for all we know, but removed his name after he got together with Nadia similar to how Kate was scratched off after adopting Aaron.
 
Dont get me wrong, I LOVEEEDD the finale. However, after reading that article and discussing it with friends.. I have this question:

If the writers wanted to stay true to their original planned finale that they supposedly wrote in season 1 by keeping ONLY season 1 actors in the church.. Why are Desmond and Penny in there?

I know Desmond was the "constant" and Penny directly affected their lives by trying to save them with her boat. But they obviously didnt stay true in that sense.
 
I don't know... I've got nothing on Sayid. I've tried a few permutations of my idea to explain it, but I just can't find anything which consistently reconciles what was going on.

Upon reflection, though, whatever happened to Sayid also happened to Claire. Both were exposed to a trauma which was sufficient to kill them (Sayid was shot, Claire was blown up by Keamy). Sayid definitively died, Claire went and lay down for a while and was never quite the same again. Both wore black (producer's signal), and both failed Dogan's test. So I think it is safe to assume that whatever happened to one, happened to both.

That said, I am just having a heck of a time trying to ID what it was that actually happened, and all I can come up with is that their death violated a "rule" (some magic which transcends Jacob's specific abilities) but that their resurrection came with a consequence to their sanity. I say that it was a rule, and not Jacob specifically, because Jacob was dead by the time that Sayid died... so I don't know who could have been responsible. Certainly we'd never seen anything to suggest that NotLocke was actually capable of doing that, and he didn't try to take responsibility explicitly... and besides he was not able to enter the Temple when Sayid came back to life.

Whatever it was, apparently it did not remove their choice though. Sayid was able to reject Locke (though he was never the same again), but the significance of that is unclear.

I dunno, I've been able to reconcile a great many things in my head over the last few days, but I've got nothing on this.
 
The Link

This is the writeup for the episode where we lost Claire. Looking it over, it may have been one of the biggest episodes of the series.

As it relates specifically to Claire, she is in a house which is blown up by RPG fire. She is taken to Ben's house where she is put in the back room to rest. Later she comes out and when asked how she is says that 'I'll live'... to whit Miles responds "Well, I wouldn't be too sure about that." At the time a friend and I discussed the possibility that she was already dead at that point (I'd forgotten), but clearly that was not the case, because she was definitively alive by the end of the series.

Perhaps, though, Claire had just died and been brought back Sayid-style. Miles, who has a strange relationship with death, could see that something had changed, but was unable to put his finger on what it was... he had the same problem when Sayid came back.

Anywho, more connection betwixt the two.
 
Writers can write whatever they want - but, they have to stay within the "Laws of Poetics". The "Lost" writers may have created an island that was real within the show's plotline, but they did not create a "world" where that island could exist outside of the viewers' minds.

If a storyteller introduces a vampire he does so knowing that the reader has a notion of the mythology of "what a vampire is" - he drinks blood, he can create other vampires from a bite, he can be killed with a silver bullet or direct sunlight, etc. If you show a vampire walking down street in broad daylight without burning, you have to state how this can happen, what made this vampire different than the standard.

"Lost" never really became more than an allusion, hokum - a premise that was never fulfilled due to the use of stereotyped characters, exaggerated emotions offering up a simplistic morality, ending in a melodrama.

Sorry, I'd rather read Huck Finn, again.
 
Dan, I'm quite positive that I can't figure out what your complaint is based of the vague post you just made. That said, I'm pretty sure your "Law of Poetics" is complete nonsense and has no historical supporting context. This could not be more more apparent than with the Vampire. About half of the rules you cite were offered by Stoker, the rest were added later by other storytellers all without apology... none of what you offered has anything to do with the classical vampire (which is closer to what we would identify as a zombie) and Stoker offered no explanation in his Dracula for why his vampire was so radically different than any other preceding work. Which is to say, what you identify as the "law of poetics" his historically superseded by the concept of "poetic license" where the storyteller gets to define the rules with their own telling.

As for your final paragraph you seem to be holding Lost to a different standard than you would any other television program. If you are looking for a concession that Lost was not as lofty a work as an American classic like Huck Finn, consider it given. Lost is not a master work which will transcend its era... and it was never really offered as such. It was a prime time fantasy show which aired on the most boring television network for 6 years, it was thought provoking and fun... and frequently more than a little frustrating... but the puzzle was part of the fun.

That said, your post is so generic and rambling, I'm not sure how I could possibly advocate for the show to you. Clearly you were disappointed... I thought it was pretty cool.
 
I really thought that Jack's physically going backwards (a la Ace Ventura) to the spot where he originally landed on the island may have pointed to everything that happened on the island being a sort of purgatory. Think about it this way: Jack dies on the island after being thrown from the plane. His eyes open, however, and he begins a "new" phase of life, work that must be done before going into the next life. The happenings on the island were not like real life. There was a mixture of the "real" and the supernatural. In fact there was a paradox of trying to return to normal life (by getting off the island) while simultaneously resisting another purpose (moving on to the afterlife). The characters were already dead, but they wanted to go back to being alive again. Eventually they realized they couldn't do this, and they discovered their purposes in this purgatory world. Also, in this world you could defy time and travel through it. I don't think that's meant to be real life. So the Sideways World was part of the purgatory world, not the whole of it.

Maybe the characters all eventually had to return to the island before they could move on, even those that left on the plane in the finale. Maybe that's why Locke's body had to be brought back.
 
PFD, I need to reiterate that I'm just spit ballin' here, but I don't believe that the "you can't leave the island" applied to anyone but Smokey. What's more, I'm not entirely sure to assume that the island's boundaries are significant to the Protector, certainly the magic is not confined to its shores. In fact, my guess is the reason for all of the Egyptian ruins is that the Island used to be part of the mainland and the Protector moved it. What we do know is that you don't get to the island without coming through a door which the protector has opened... and that both Protector's we saw claim to have "invited" people. We saw how Jacob did it, we must presume that Cregg did the same.
 
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