The Journey of ‘Lost’
“Basically, ‘Lost’ is one of those things,” says executive producer Carlton Cuse, “where you have to appreciate the journey and try not to worry about the endpoint. We’re not in control of the endpoint.”
The Wednesday-night ABC megahit about the survivors of the crash of a Sydney-to-Los Angeles airliner on a deserted island — which turned out to be not so deserted after all — returns on Wednesday, Jan. 11, with the first new season-two episode in a while.
According to ABC, in “The 23rd Psalm,” tail-section strongman Mr. Eko (Adewale Akinnuoye-Agbaje) quizzes recovering addict Charlie (Dominic Monaghan) about his heroin-stuffed Virgin Mary statue; upon discovering Charlie’s secret, Claire (Emilie de Ravin) loses faith in him; and Jack (Matthew Fox) looks on as Kate (Evangeline Lilly) gives Sawyer (Josh Holloway) a haircut.
As hinted at by the guest-star list, the episode, written by Cuse and series co-creator Damon Lindelof, appears to include a flashback relating to Eko’s Nigerian past.
But viewers probably shouldn’t get their hopes up that it will provide a complete explanation for any one of the show’s myriad mysteries.
As Lindelof points out, “When have we given you a definitive answer to anything?”
Serialized television is a curious thing. The writers control where a story begins, but networks usually say when it ends. That’s especially true with a show that’s a hit, whether it’s “The X-Files” or “Buffy the Vampire Slayer” or “Lost.” Networks want hit shows to stay on as long as possible, even when the original story arcs should have long since come to natural conclusions.
“The reality is,” Lindelof says, “that Carlton, myself, J.J. [co-creator J.J. Abrams], the creative brains behind the ‘Lost’ universe, we could all band together and say, ‘We’re ending the show after three seasons because that’s the arc. They get off the island, and we reveal all the things we want to reveal.’
“And the network would say, ‘No, you won’t.’ They will hire somebody and do ‘Lost,’ with or without you.”
Beyond the network, real-life events can affect storytelling. On Dec. 1, two cast members who play recently introduced tail-section characters were arrested 15 minutes apart on charges of drunken driving in Hawaii, where the show is filmed.
According to published reports, the attorney for Cynthia Watros, who plays psychologist Libby, requested and was granted a continuance of the arraignment to Jan. 12, when she is expected to plead guilty.
Michelle Rodriguez, who plays tough LAPD officer Ana-Lucia, has had several brushes with the law, and is on probation for previous traffic offenses in Los Angeles. She pled not guilty to the Hawaii charges, and trial is set for March 30. Later this month, Los Angeles prosecutors are also expected to ask the court to schedule a probation-violation hearing.
Asked if producers have a contingency plan should Rodriguez fail to prevail in court, Cuse says, “We’re just going to see how things play out, and we’ll deal with it accordingly. She’s a really good part of the show. We really value her and her character and hope things work out in her favor.”
Apparently, Libby will come to the fore in future episodes.
“She’s a little bit of a stealth surprise that we have cooking on the island,” Lindelof says. “That is going to be very cool, when the longer game reveals itself.”
No doubt Libby’s revelations will answer a few questions but also add to the ever-growing list of inexplicable things on the island, which includes unseen monsters, a polar bear, underground bunkers, a slave ship and a horse.
On the other hand, if you’re a dedicated fan of J.J. Abrams’ other ABC show, the spy drama “Alias” — which has a plot so convoluted that explaining it could cause a cerebral hemorrhage — you’ve long since learned not to sweat the small stuff.
“We suggest you do the same on ‘Lost,'” Lindelof says. “That’s between the lines here. If you’re watching the show because you’re waiting for the big answers to come, you have to understand that by the nature of what it is — it’s not a movie, it’s not a series of movies, it’s not a trilogy, it’s not a miniseries — it’s going to be on the air for as long as ABC wants to keep it on the air.
“How can you ever possibly think that ‘Lost’ will end in a satisfying way? Carlton and I can almost guarantee you that it will not.”
In the meantime, the producers strive for a weekly thrill ride that won’t disappoint. So far, they’ve succeeded, since “Lost” is the first “genre” series (a catch-all showbiz term for science fiction, fantasy and horror) to capture a mass audience since “The X-Files.”
“Lost” also has perhaps the most diverse cast on television in terms of race, ethnicity and cultural background.
But, says Lindelof, there’s more to it than that.
“It’s essentially a cult show in its design and its genre, but what makes it accessible to a wider audience is that there is a character on the show who is like you, even if that character is Jin.
“It doesn’t mean that you’re Korean, but you’re in a marriage where your wife doesn’t understand you. You are working your ass off for her father, and she doesn’t appreciate your contribution.
“Or you were in the army, and you identify with Sayid, he has a very soldier-like mentality. Or you are a father who doesn’t have the kind of relationship with your kid that you would want to have, then you’re Michael.
“You are searching for some sense of spirituality in your life, and you’re Locke, or you’re pregnant and scared to be pregnant … there is a very wide range of entryways into the show in terms of characters you can identify with.”
“That’s why we found a mass audience,” Cuse says, “because if it was just a genre show, if there wasn’t the genius of Damon and J.J.’s flashback invention, it would be a much more limited-audience show. That is the secret of ‘Lost.'”
Says Lindelof, “Don’t tell.”
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