Here links where you can see where we left our losties and what is next for them maybe the articles are kinda spoilers so i'll add the what is next part here only.
kate What's Next: It seems that Kate will finally have to choose between Jack and Sawyer. She'll also have some 'splainin to do to Claire about why she decided to kidnap her son, Aaron, and raise him as her own.
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sawyer What's Next: Although the fall itself didn't kill her, the executive producers have made it clear that Juliet is dead, leaving Sawyer heartbroken. The detonation of the bomb could put Sawyer happily back on Oceanic 815 or perhaps he'll flash back to 2008 to help take down Un-Locke. Wherever he lands, we're pretty certain we can expect two things: more unresolved tension with Kate and at least one more power struggle with Jack.
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sayid What's Next: When Sayid shot little Ben, his story line exploded with potential, but after Richard saved Ben ("he'll never be the same"), that loose end was tied up. Sayid's story is winding down, and it's hard to imagine what more we could learn about him.
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richard What's Next: Carbonell has been upgraded to a series regular for the final season, so plan on seeing plenty of him and learning more about that link he has with Ilana. Also: He and Jacob don't appear to age. Unlocking that mystery will be central to cracking the island's code.
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hurley What's Next: Producers have confirmed that Cynthia Watros will reprise the role of Libby, paving the way for a reunion of the quirky coupling. Garcia has also hinted that we haven't seen the last of "the numbers" just yet.
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jin&sun What's Next: Because it's the end of the series, these lovebirds will finally be reunited, right? But first they need to find a common year and stick to it.
Time travel, murder, religious parables—Lost’s shepherds, Damon Lindelof and Carlton Cuse, reflect on its fifth season.
Rich in mythology and character development, and tantalizingly complex, Lost is not something to be watched passively. Throughout its five years, the ABC series has brilliantly weaved a human drama about plane-crash survivors on a mysterious island into a Byzantine tableau. We’ve witnessed smoke monsters and polar bears, unearthed a bygone scientific initiative, met the native inhabitants, and sidled up to a four-toed statue and a hydrogen bomb named Jughead. There have been flash-forwards, time travel, meditations on faith and destiny and redemption, literary and pop-culture references, and the occasional Latin phrase. What’s more, all of these bizarre components are all somehow connected. The show’s intricate and cryptic details have sent many a rabid fan to reference books and online chat groups in an effort to unlock the show’s secrets.
But even for those who aren’t content to parse through the myriad clues to find out what it all means, Lost, while epic in scope, is also intimate in its relationships. The overarching story can be incredibly dizzying and confounding as it travels around the world and through time and back again, but its writers (including executive producers Carlton Cuse and Damon Lindelof, or “Darlton,” as they’re called on message boards) take care to keep it rooted solidly in its characters—who, over the show’s duration, have grown as rich and deep as the mythology that surrounds them.
And this fifth season—which featured a return to the island for those who had been rescued and erratic time travel—was not only enthralling; it was satisfying. The energy intensified as the series began answering integral questions, ramping up acceleration and purpose as the show barreled toward its sixth and final year.
State of Shock
“There have been some seasons when the show was nominated, and there have been some seasons when the show wasn’t nominated,” said Damon Lindelof of this year’s Outstanding Drama Emmy nod. “When it’s not nominated, it’s because the show’s too weird, or too genre, or it’s too mythologically dense. So…those are the three characteristics of the fifth season of the show. We did time travel the entire time, so it was incredibly genre, it was very sci-fi, and the mythology was more dense than it’s ever been. So we were like, ‘This is definitely not the year that we’re going to be nominated for an Emmy.’ And so when it happened, we were genuinely shocked.”
Damon’s Favorite Moment
“The standout scene for me...is the moment in ‘The Life and Death of Jeremy Bentham,’ where Locke [Terry O’Quinn] is about to hang himself, and the scene begins with the guy about to commit suicide, and then bridges all the way to that guy getting murdered by another guy. The maneuvers between Ben [Michael Emerson] and Locke, the summation of their relationship up until that point, the surprise of Ben killing him, the mystery of why would you talk someone down from killing himself, only to kill them with your bare hands. There were just a lot of hoops to jump through, and in the writing of that scene, and then in the actors’ execution of it, and Jack Bender’s direction of it, it was just one of those moments where you go into the editing room and you watch sort of the editor’s first pass at it, and you just go, wow, it worked. This could have been the biggest disaster in the history of television, and we somehow pulled it off. And I think that in that scene is indicative of what we try to do on the show, which is we have a bold goal—you know, we reach for the stars. Sometimes we fall short, but when we accomplish our goal, it can be really special.”
Carlton’s Favorite Moment
“The moment [in ‘The Incident, Pt. 2’] when Sawyer is basically holding Juliet [Elizabeth Mitchell], in the shaft that will one day become the Swan hatch. You know, that is also, I think, a moment that really resonated for us because you know, it was really the culmination of Sawyer’s relationship with Juliet, and Josh Holloway’s so good in that scene, and just kind of what went on between those two actors in that final moment. We wanted to try and make it somewhat ambiguous as to whether she sort of lets go and dropped, or whether it was just basically inevitable that she couldn’t take hold any longer, so it kind of embodied a little of the ambiguity that we liked to have. And it was such a strong, powerful, emotional moment for both those characters. That was another moment when, again, on a character level, you know the bulk of the scenes that we described are really, you know, hinge on the emotions between our characters, and again, there’s mythology surrounding those events, but the actual scenes that we chose, and the moments we love are when our characters really connect with each other in profound and emotional ways that make the audience feel that emotion.”
Our Man Sawyer
“We really looked at Season 5 as the year of Sawyer,” said Lindelof. “I think that the focus has been on the kind of Jack, and Locke, of it all, and obviously, Michael Emerson who came, then, as the villain, has been a very prominent character in the third and fourth years. But we had this really cool idea to basically say let’s completely flip the paradigm for Sawyer, who we’ve always perceived as kind of the Han Solo bad boy, and put him into an entirely different position, where he’s having a leadership position and he’s responsible, without sort of selling out the spirit of who he is…. And then we would do it overnight, literally. In a single episode, we’d jump three years ahead and show this sort of before and after of this guy.”
Ben’s Journey
“The great thing about Ben Linus is he sort of wears his bad guy stripes on his sleeves, and Emerson this year, especially, sort of did the opposite of what he’d been doing in previous years, obviously as a result of the storytelling, and sort of really humanized this character,” said Lindelof. “Instead of seeing Benjamin Linus as a guy who’s completely in control and all of our characters were at his mercy, now suddenly, we flipped the script on him as well, so that in addition to feeling these grave responsibilities for the death of his daughter, he’s also now Locke’s acolyte. As opposed to the way that it had been in previous seasons. And seeing Michael kind of play that pathetic version of Ben, and seeing how angry he is, about suddenly being stripped of his power, the first half of the season he’s ruthless and manipulative in getting the Oceanic 6 back to the island, and the back half of the season is now, he’s basically kind of Locke’s lackey, I think was, again, this guy just keeps finding new levels to that character.”
Evil Ben for Supporting Actor
“People really love a villain,” said Lindelof of Michael Emerson’s nomination. “And I think if you look at the actors who traditionally walk off with that supporting drama award, or the ones who are nominated, there’s always this sort of degree of a dastardly air about them. You know, John Slattery or William Hurt, you know, those guys are playing characters with a sort of nebulous moral intent, and I think that audiences really respond.”
Ben v. Locke
“Every time we write a Ben and Locke scene, we just can’t wait to see what we get back from Hawaii,” said Lindelof. “Because as Michael Emerson has mentioned multiple times, he loves working with Terry, and for some reason, those guys are like the wonder twins. When they are put in a scene together, they are ten times more powerful.
The Lost Ensemble
“We’re kind of at the point where we recognize the challenge for actors to be honored on our show,” said Cuse of the lack of acting nominations. “We have so many characters—we have 15 or 20 regular spots, and a huge supporting cast—so our actors don’t get the kind of screen time that actors who do get nominated get, and I think that puts them at a disadvantage. You know, Hugh Laurie is awesome, but he’s also in practically every scene of House, and he really is so integral to that show. Our actors are collectively integral to our show, and yet no one of them gets to be on center stage more than a few episodes at a time.
“When we’ve had success, it’s been in a supporting actor category,” Cuse continued. “Terry did win before, and Michael is such a tremendous talent that we would be so pleased if he won, but that, I think is about as tough a category as there is in the Emmys, and I think you can make a case for all of the actors that he’s up against, and so, we’re obviously rooting for Michael, but understandably, it’s a tough thing to win in that category.”
The Human Element
“Despite the fact that people perceive our show as a genre show, or a mythology show, we like to think we’re making a character show with sort of a frosting of mythology,” said Cuse. “But you know, when people eat the cake, the thing they remember the most is the frosting. We focus on the characters of these stories, and I think we felt that we told some good character-based stories this season. It seemed that because of the context in which we told those stories, we were surprised that we got nominated, but we were very pleased that people sort of recognized the fact that I think we’ve worked really hard to try to have a strong kind of, humanistic character base underpinning to the stories.”
Emmy Recognition
“As incredible as it is to be nominated for an Emmy, and what that means, in terms of, you know the support you’re getting from your peers, the only thing on our minds in terms of writing the final season of the show is making it worth everybody’s while, who came this far,” explained Lindelof. “Most importantly, our own. We’re now trying to end what will essentially be 120 hours of this kind of epic story that Carlton and I have spent full time, without doing anything else, really, you know, telling. So the primary motivation for us is that everyone will love it and that we ourselves will feel proud of it. and if that results in an Emmy nomination, well, that would just be the icing on the cake. But, you know, amazing shows like Battlestar and The Wire finished their run, and they don’t get Emmy nominations in their final seasons, so at the end of the day, the legacy value of the show itself, and the audience’s reaction to the final season and the final episode of the series is really what’s driving us.”
The Sixth and Final Season
“We’re in the early stages of it, but it’s very exciting,” said Cuse about the last show’s last run, which begins in early 2010. “I think it’s sort of exciting and bittersweet at the same time. It’s exciting because we’re finally getting to the core mythology that we’ve known for a long time, and we’re anxious to see how it lands with the audience…. At the same time, you know, I think we will be sad to see Lost go. It’s such a special thing to have any sort of successful show. And especially in this economic climate, doing a really big-scale action adventure series shot on location in Hawaii with a huge crew on 35mm film. Not only is it a question of the show coming to an end, in a lot of ways, I think it’s this era of television is coming to an end, with the economics of the business changing so profoundly.”
Any Season 6 spoilers for us?
Lindelof: “You know you had to try, but no. We can’t say squat.”
ABC posted those one there is fews days but i didn't get before todya :) very cool news promo pics of charlotte ^^ enjoy and there is 5 but you know the other are on the lyly's gallery :)(check charlotte =>season5) enjoy ! kiss Lyly
Update 10:25PM BIG HQ thanks andy :) ******************
Update6:30PM : MQ for now, HQ i guess tomorrow :)
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Finally we got it !! not in HQ yet but soon guys :) you like it ? i find it's pretty cool and well they're so good all together :) enjoy ! source : etonline.com
Hello guys !! i missed you but i got serious issue with my internet connection -_- it's not with new footage but god lost return is soon and i'm so happy so i love to see other country promoting lost too so enjoy :) more update will come in fews hours kiss Lyly
1:45-2:45 Entertainment Weekly’s The Visionaries: Showrunners— Carlton Cuse (Lost), Damon Lindelof (Lost), Josh Schwartz (Chuck, Gossip Girl), Bryan Fuller (Pushing Daisies), and Josh Friedman (Terminator: The Sarah Connor Chronicles) are the television producers who are changing the face of television with deeply immersive entertainments marked by distinctive, cutting edge storytelling. They have also been at the forefront of bringing "genre programming" or "cult TV" to the mainstream. Prepare for a candid conversation about creative integrity in a commercial medium and the future of broadcast TV in an increasingly digital world. Spoiler Alert! Upcoming plot developments may be teased. Moderated by Entertainment Weekly senior writer Jeff Jensen. Room 6CDEF
Saturday, July 26 12:00-1:00 Lost— If the most recent season finale was any indication of things to come, you will not want to miss this panel. Co-creator/executive producer Damon Lindelof and executive producer Carlton Cuse will discuss season 4 of Lost, leading up to the season finale. They will answer your questions and maybe even offer up some surprises of their own. Hall H
4:00-5:00 Lost Podcast with Jay and Jack— Jay Glatfelter and Jack Glatfelter have one of the oldest and biggest podcasts dedicated to ABC'S Lost with The Lost Podcast. Learn about the huge, dedicated online community for TV's most mind twisting drama. Join Jay and Jack for this special interview and Q&A session! Room 24A
yes lost ended but thank kristin for some spoilers about next season (nothin really big but hé you know it's the hiatus now be patient ;) ) Janet in R.I.: Anything new to report on Harold Perrineau’s death on Lost? I was so sad to see him go! You and me both, babe. But the good news is that Harold is set to star in a dramedey on ABC (he was cast in the pilot The Unusuals), which is music to my ears. If you’ve seen much of H.P. in real life, you know he is (a) hilarious, (b) funny and (a) did I mention the funny? And of course, he can act his ass off. Personally, I never felt like poor, unlikable Mikey-poo did him much justice, so a fresh start where he can flaunt his comedy chops sounds good all around to me. Just my opinion! If you disagree, let mama have it in the comments below...
Mena in Los Angeles: Please, spill the beans! Is there a chance that my darling Jin survived the freighter explosion on Lost? Jin is gonna be fine. I don't know exactly how, but he's going to be fine. I suspect that the difference between Michael's and Jin's survival is that Michael was trapped inside the hold, whereas Jin being up on the edge of the deck meant he had a chance to be blown clear of the ship. Besides, the guy magically survived the crash of a 747 and the wreck of the raft. No reason he shouldn't survive this shipwreck—I choose to believe the Island clearly joins us all in loving him and wanting to keep him around.
Cristina L. in Miami: About the person leaving Lost next season but returning the for season six...You said it's a girl from the first season, so is Rose included, or do you just mean Kate, Sun and Claire. Rose would have been included, but as revealed in the Redux's "What's to Come" section, Emilie de Ravin will be on a holding contract with Lost for season five and returning in season six. But don't worry, you can get your Emilie fix elsewhere in the coming year: She's got a part in the Johnny Depp flick Public Enemies, she's in the period baseball picture The Perfect Game with Clifton Collins Jr. and last but not least, she'll be costarring in Ball Don't Lie with Nick Cannon and Ludacris. Even without Lost, she's going to be a busy cookie!
Marc in Brooklyn, N.Y.: When Ben was in the funeral parlor in the finale, was that live, real, off-island Ben or dead, spirit-vision Ben? I had to read the comments of the Redux to figure this out (thank you Nick!), but I think that was the real Ben, because...When he moved the Island, he was teleported (or whatever) to the Tunisian desert, where we find him at the beginning of the circa 2005 flash-forward in "Shape of Things to Come." When we first see him in that scene, he has a wound that matches the cut on his arm at the end of "No Place Like Home." Crazy, right? So, to me, it does seem like he's been genuinely exiled from the Island, and since he leapt forward to 2005 he has been living and working only in the "real world."
HOLLYWOOD — Four seasons of helping his friends survive Lost's mysterious island has softened old James "Sawyer" Ford, a former con artist who was recently seen cradling Claire's baby boy.
As the show closes in on Thursday's two-hour season finale (ABC, 9 p.m. ET/PT), emotions run high as Sawyer (Josh Holloway) and company endure a series of game-changing events.
"It's kind of violent," says Holloway, 38. "There's definitely a body count going on. And there's a moment where a big decision has to go down."
Flash-forwards have indicated that Jack, Kate, Hurley, Sayid, Sun and baby Aaron (the so-called Oceanic Six) escape the island. The fates of all the others are unknown. Why would Sawyer choose such uncertainty?
"He realizes some sacrifices need to be made," the actor teases on a hike through the dusty trails of L.A.'s Runyon Canyon while dragging on a cigarette. "And I think he's afraid to go back to society. He has gone through an evolution on that island. He has had to face all these demons and he has grown — enough to know he's not OK with himself anymore. Instead of destroying lives, he has saved some lives. He cares about people … and has fallen in love."
Those deep feelings for Kate (Evangeline Lilly) come into play as he is presented with the possibility of losing her forever. "That is a very important part of the finale that I can't talk about," he says.
Like his character, Holloway has experienced his own evolution. Being away from L.A. these past four years has allowed him the opportunity to clear his head of insecurities that, he concedes, "were really eating at my soul." Those insecurities were replaced with feelings of entitlement once he hit it big. But now he has settled into a comfortable mid-way point of peace, self respect and confidence — life lessons he now hopes to pass onto a child.
When Holloway married Yessica Kumala in Hawaii in October 2004 (just as the series was gaining heat), both agreed that their desire to be free to explore the world did not allow for children. Now, having spent a good amount of time traveling, Holloway says, "we have changed our minds … only recently. Basically, nature happened. If you're in a loving relationship with someone, (having) children becomes a part of it. I don't know exactly when or how, but we're very open to either having our own children or adopting."
From the top of the canyon, hikers are awarded a breathtaking view of both the Hollywood sign and the city itself. Along a trail, the actor is recognized by two student filmmakers who ask if he wouldn't mind making a cameo in a short film they are shooting. He can't say yes, of course, and politely explains his agents' role. "I dig you, man," he tells one of them.
Holloway can't help but be reminded of his own years struggling to make it as an actor in L.A. before Lost catapulted him to stardom. When the show ends in 2010, he says, "we'll probably get us a little place here because the biz is here, and I want to stay in it." But he will also spend time at his home in the Colorado Rockies and the Hawaiian beach house he intends to maintain as a rental.
He's already experiencing "a new hunger to really express what's inside of me as an artist."
For Holloway, that means taking chances.
He began his career modeling for high-end fashion houses, "hanging out" with the likes of Gianni Versace and Giorgio Armani. But after landing Lost, he turned his back on that world "to be respected as an actor."
Four years later, he is allowing himself to be photographed as the face of Cool Water cologne, replacing pro surfer Laird Hamilton. Promotional images depicting Holloway cliff-diving in China have appeared in Europe over the past two years, but only now is he making a splash in American markets.
Preparing for a future, he is finally taking seriously the production company he formed primarily for tax reasons. "I have all these ideas for shows — from reality, to writing, to directing," he says, clearly excited. He recently wrote two comedy skits he'd love to perform as a guest host on Saturday Night Live.
Beyond that, he and Yessica are discussing opening a day spa. Perhaps offering a hands-on deep tissue massage from Sawyer himself?
"Of course," Holloway declares with great bravado, followed by a wicked chuckle. "In my Spee-do!"
If you're like me, you've done little else today other than think about last night's mind-splitting episode of Lost, what with all its mystery and intrigue and puzzle pieces. Not to mention the apparent time travel, freak-deaky cabin and the reveal that the island must be "moved." WTF?!
Thankfully, the big cheeses in charge, Damon Lindelof and Carlton Cuse, agreed to spend a little time this morning answering a few questions. And while I had agreed beforehand to not delve too deeply into anything spoilery, I tried my best to get us all some info we can chew over until the next episode airs!
Among the findings in this interview:
* The question is not whether Claire is dead but “What happened to Claire?” * Christian Shephard is dead. * Time travel is definitely happening on this show. * Sounds to me like Richard Alpert is doing it. (Remind me later of a theory I have relating to time travel and the knocking up of Losties' moms!) * They were surprised by today's "announcement" of two extra episodes in season five and six. * They know whom Kate will end up with in the very end.
Keep reading for the scoop!
First of all, damn you guys and this show. It was such a good episode, I was up all night trying to wrap my head around everything. Damon Lindelof: Carlton? You know we don’t understand it either.
That is comforting. Well, congratulations, I think the fan response has been so positive this season. There were some people who were frustrated in season three, and I feel like all those people who were cynical are back into the fandemonium of the show. D.L.: My feeling about is that it feels great, and we're enjoying it more than we ever enjoyed it before, for having gone through the dark times. And at the same time, our attitude isn't, "I told you so! We're awesome!" because I know we still have 34 episodes to go, and it's a roller coaster. And at the end of the day, people put a lot of weight on the finale, because the finale is the taste left in their mouth for the next eight months. Nobody's talking about the undefeated season that the New England Patriots had—everybody's talking about the fact that the Giants won the Super Bowl. So until the finale is aired and people respond to that, there are no laurels to be resting on. Carlton Cuse: Me, I'm just happy, with no qualifications whatsoever.
How are you feeling about the finale about this point? Are you feeling pretty confident about it? C.C.: Yes, we were up until the wee hours last night editing the finale. I think we're pretty pleased. We want to be cautious in our optimism, but it feels like the film that we are getting back from Hawaii is fantastic. Jack Bender is doing a great job directing it, and I think that people will be surprised by the finale. Not in the literal M. Night Shyamalan way that we surprised the audience last year, but I think emotionally satisfying and also intriguing—and we'll leave people very excited and interested to figure out what season five is going to be about.
D.L.: Yes, there's a sense of completeness this year in terms of what we set out to do in season four: to tell the story of how the Oceanic Six got off the island, why they are lying and what happened in the immediate aftermath of them being rescued, all the way up to Jack yelling at Kate, "We have to go back!" And we feel we've accomplished that, and beyond that, there's an indication in the finale of what the future may hold. We're really glad that we got the extra hour from ABC. That made a huge difference in being able to do the two-hour finale, or else it would've felt...We were sitting in the editing room last night watching one of the scenes, and we looked at each other, and said, "I can't believe we ever thought we were going to be able to do this in an hour." The scope is large.
Was this season considerably different then it would've been had we not had the strike, or do you feel that you accomplished what you had originally set out to accomplish? C.C.: I think in a funny way it was probably better because of the strike, for two reasons: First, we just put the pedal all the way down to the metal to get everything done with two fewer hours. A lot of the more languid, contemplative material went out the window. And two, I think we were fresh after 100 days off. We came back, and we jumped into the show. We were recharged, and we've had a real energy to attack these last six episodes. Normally, at the end of a season, it's like running a marathon. You're exhausted, you've used every good idea that you've had and you have fatigue from having written 17 episodes. We came in fresh, really energized, and I think that really helped the batch of episodes.
D.L.: It's crazy because you've now seen three episodes of the poststrike work, and we didn't even start writing them until Valentine's Day, and now they've aired. It's a tremendous amount of energy put in by the writing staff, the production staff, the actors and the editors. Right now we literally have four editors and assistants all working around the clock just to get the finale done. And Jack Bender is still shooting today, and we're going to air this two-hour movie two weeks from last night. So we're really proud of the fact that we were able to write and produce six hours of television in a 12-week period, which is essentially the same amount of time we had to produce the pilot.
And we found out that there will be one more episode in each of these seasons. Are you happy about that? D.L.: I don't know where that came from. I think Carlton and I did a KROQ interview yesterday, and they asked about the two episodes that didn't get done this year, and we reiterated as we have in many interviews we will probably do 17 next year and 17 the following year. And now everyone's presenting it to us like it's an official announcement.
C.C.: Poststrike we always said we would make up the ones that got dropped.
Obviously the big question after last night's episode, leading into that finale, is: "How are they going to move the Island?" which is a fantastic twist. Also, "Is Claire dead?" Is that a question you are wanting the fans to be asking at this point? C.C.: I think we want the fans to ask, "What's happened to Claire?" I don't think it's "Is she dead?" I think it's like, "Where is she?" and, "What's going on with her?"
D.L.: What's fascinating with Lost is there's a scene where Claire is in the cabin, and she is sitting next to a guy who is dead, and nobody is saying "What's up with that?" They're all asking "Is she dead?" I think the more operative question is "What is dead?" That's a good question to ask, and one you will certainly be asking over the long hiatus. Can you say if time travel is definitely a part of the series? C.C.: Yes. How do you keep all of the different timelines straight? I have to imagine there's some huge board somewhere where you have all of the timelines because there's so much overlap at this point. Is it difficult keeping all of that straight, and how closely do you guard that room where all the secrets are kept? D.L.: We have a guy, Gregg Nations, who is now coproducer on the show who has been our script coordinator since the very beginning, and that's been his job maintaining the continuity of the show. The easiest continuity to keep is what's happening on the Island starting on Sept. 22, 2004, up until where we are now, which is roughly about day 100 on the Island, as of what you saw last night. That's fairly easy. And then the flashbacks—they start becoming confusing relative to each other. It's not that hard to say Jack ratted out his father and got him fired before he went to Australia, but all of that happened after he broke up with Sarah. [What is hard to sort out is] how those scenes take place in relation to Hurley winning the lottery or Sayid leaving Iraq...so that's all Gregg's job.
Once we moved into the future this year, it has become incredibly daunting for him, because all the Oceanic Six are intertwined, and you will begin to see in the finale, as we begin to fill in these missing pieces in the future, trying to understand the conditions under which the Oceanic Six left the island, and why are they lying. That gets incredibly tricky. And you will finally get a sense of when the scene you saw in last year's finale takes place in relation to all of these other scenes where Jack and Kate are on the tarmac.
So, there is no physical document, it's all sort of in Gregg's head. If he were to leave the show or have a massive coronary, it would take Tom Hanks from The DaVinci Code to piece it together, which is how we like it.
C.C.: But he's, just to be clear, he's the keeper of everything that's been done on the show, not the stuff that will be done. He doesn't have to live in a locked vault, because he doesn't have the stuff that is yet to be seen on the show. It's enormously beneficial to have Gregg as a resource because we ourselves sometimes have a hard time figuring out where events happened relative to other events. Well, you guys know that the fans are very passionate about how the romantic storylines go on the show. In the last episode, obviously, we had some really great Jack and Kate stuff. Does it make it tricky to write the romances knowing that the fans do feel so strongly about it? And how much do you take into account how they are going to react to a Kate and Jack scene or a Kate and Sawyer scene? D.L.: At the end of the day, we haven't done any official polling, but it feels like there's a 50-50 Skater-Jater spilt, and Juliet is sort of the Ross Perot. The people who are passionate about Jacket are very passionate, but ultimately the triangle is a product of Kate and will she end up with Jack or Sawyer. It's not like Carlton and I are both rooting for Jack on any given day. We feel like Kate's character is bound to explore relationships with both those guys and that both those guys are going to be responsive to her various advances. We know who she ends up with ultimately, but we think the trail leading there is obviously going to include a little bit of ping-ponging.
C.C.: We're both Skaters and Jaters at the same time.
This is a question I don't know if you can or will want to answer: Does Richard Alpert age? C.C.: Does Richard Alpert age? I think it's a good observation to say that Richard Albert has been observed in various time periods looking the same, but I think that's all we want to say at this point in time. However, you will learn a lot more about Richard Alpert as the show goes on. He is going to become more prominent in the future of the show.
And it seems like the series has branched off in so many different directions. The scope of what has happened on Lost is just so vast and so intricate. As the series continues for the next few seasons, will things start to come together in some sort of cohesive way or are you still branching out further? C.C.: We were actually laughing about this the other day. How, back at the beginning, finding water was sort of the crisis, not whether the island can be moved. The stakes have definitely risen.
We have two seasons left, so we think there will be more incredibly compelling complications for the characters before we get to the end, but again, the great virtue of the end date is that we will start wrapping things up, and we will be trying to tie up all the story threads.
We keep a list of unanswered questions, and we will be trying to answer most of those. Obviously, mystery is a part of life, and mystery is a part of the show. I guess we'll all have to see at the end of the day how satisfied people are, but it is our intention to try to wrap things up. I don't know if the show will become simpler, but hopefully in the wrapping up of these questions, it will be satisfying.
D.L.: There are some questions that are very engaging and interesting, and then there are other questions that we have no interest whatsoever in answering. We call it the midi-chlorian debate, because at a certain point, explaining something mystical demystifies it. To try and have a character come and say, "Here is what the numbers mean," actually makes every usage of the numbers up to that point less interesting.
You can actually watch Star Wars now, and when Obi-Wan talks about the Force to Luke for the first time, it loses its luster because the Force has been explained as, sort of, little biological agents that are in your blood stream. So you go, "Oh, I liked Obi-Wan's version a lot better." Which in the case of our show is, "The numbers are bad luck, they keep popping up in Hurley's life, they appear on the island."
C.C.: I heard that Obi-Wan had actually experienced the numbers. That's actually a big secret that's now been revealed.
D.L.: But if you're watching the show for a detailed explanation of what the numbers mean—and I'm not saying you won't see more of them—then you will be disappointed by the end of season six. Do you see Penny and Desmond as a central plot for the show? And if Penny were to die would Desmond die because she's his Constant? Is that a fair assumption? D.L.: Desmond and Penny are an incredibly important part of the show, and one of our favorite romances and relationship to write on the show. Obviously, Sonya Walger is an incredibly busy actor, and as a result of that, it limits our ability to go to the Penny and Desmond well, but every time we do, it's very special as something that we do not get to explore every other week. All we can say is that there's a lot more to tell about that story, but hopefully you will have a better sense of that over the summer.
And how much do you know about what you'll be doing next season. Do you know who the cast will be for season five? Have you figured that out? C.C.: We are just starting our minicamping process for season five. That's sort of where we take the big ideas for season five and try to break 'em down into a season-long story arc. So it's a little too premature for us to say specifically what season five is going to be like, in great detail—and once we figure that out we probably won't say anything anyway.
D.L.: We know what the story for the two remaining seasons is, but the big questions on the table now are what goes on in season five and what do we hold for season six. We don't want the audience to think that season five is just a big tap dance. It's not The Two Towers in The Lord of the Rings saga where it's just a big battle for three hours until you get to the volcano.
C.C.: We hope it's going to be more like the Empire Strikes Back, in Star Wars, in which the penultimate chapter in the first saga was the best.
D.L.: We can say, as a result of the reduced episodic order though, that we are not shifting out of question-answering mode. You'll still get some new, interesting questions along the way in season five that will pay off in season six, but there are a lot of engaging mysteries that we will be addressing right out of the gate.
