Update: 3rd MarchWith some spoilers starting to come through, this competition is now closed. Good luck to everyone who entered.
Thanks to Joseph for the idea of running a little competition for DarkUFO readers.
It's very simple, all you need to do is to predict the centricity of Episode 9-13 (the unfilmed episodes) along with if it is a Flashback or Flashforward. The first person to guess/predict correctly will win a $20 Amazon voucher. As soon as we get confirmed spoilers in the competition will close, so make sure you get your predications in sooner rather than later. Only 1 entry per person and only entries in the comments section to this post will be counted.
DO NOT POST SPOILERS IN HERE.
Here are my picks.
Episode 9 - Daniel (Flashback)
Episode 10 - Charlotte (Flashback)
Episode 11 - Ben (Flashforward)
Episode 12 - Sawyer (Flashback)
Episode 13 - Jack (Flashforward)
Sunday, February 24, 2008
Citizen Kate by Luhks
The fourth episode of Lost’s Season Four arrives with one of the most puzzling titles to date in the series, Eggtown. Like almost every Lost episode title, Eggtown refers to a number of different things: the eggs in Ben’s breakfast, the Easter eggs to which Locke alludes, the possibility of Kate’s pregnancy, and even an obscure antiquated term used in bargaining. While the title invokes all of these ideas to varying degrees, the title’s most interesting application is to the classic riddle:
Which came first, the chicken or the egg?
Which of these two things is the cause and which is the effect? If every effect in the universe has a cause, then what was the ultimate cause that came before all of those causes? This paradox of causality has persisted throughout history, for everyone from Aristotle to Stephen Hawking. (If you don’t enjoy these types of riddles, then Locke shows us perhaps the only way to escape this endless puzzle: simply eat all of the eggs and kill the chicken.)
Now that four episodes of this new season have aired, Season Four has developed its own unique style. The secret of this format lies in the old riddle of the chicken and the egg: this episode reveals the image of the eggs, but never shows us the chicken that produced them. In this story, effects precede causes. Each of the four flash-forward episodes presented us with a series of eggs, but the chickens that caused them remain conveniently off-screen. Through the Looking Glass showed Jack’s downward spiral, but failed to reveal the identity of the man whose death triggered it. In Hurley's flashes, he expressed regret for his decision to follow Locke, but he remained unable to speak about the disaster that caused it. Sayid’s episode concluded with the mention of some similar tragedy, one so horrible that it persuaded him to sell his soul to his enemy. Finally, Kate’s tale now includes the startling revelation that she will live off the island as the adoptive mother of Claire’s son Aaron, without leaving much indication as to why. In each case, the audience is free to speculate about what causes could have possibly produced these effects. Examining these eggs, though, does little to help us visualize the chickens that produced them.
One particular scene in Eggtown, which focuses on newcomer Daniel Faraday, offers perhaps an even better metaphor for the new format: memory loss. Daniel can remember the faces of two out of the three playing cards, but he guesses the third card incorrectly. The results of Charlotte’s test now place Daniel’s introductory scenes in a new light: Daniel might know something important about the island, and be unable to remember it. This revelation also explains why Miles needed to remind him about the meaning of Naomi’s last words: he simply forgot. In many ways, Daniel, as a man incapable of remembering the recent past, may become the antithesis of Desmond, the man capable of remembering the near future. The flash-forward scenes of Season Four, by leaving a large span of time concealed, place the viewer in a predicament similar to ones faced by Desmond or Daniel: we have access to two out of the three parts of the story, but we can only guess the third. Expect next week's epsiode, The Constant, to explore this idea in greater depth.
(Antero-grade amnesia, loss of short-term memory, also serves as the focus of the remarkable 2000 feature film, Memento, from director Christopher Nolan. I highly recommend this film to anyone who has not seen it. Not only does it hold plenty of significance for interpreting Lost, but it is also an exceptional work on its own, and my favorite movie of this decade. Memento is another inventive, nonlinear story that explores many of the same motifs as Lost: time, mirroring, revenge, and identity. Essentially, the film presents a series of flashbacks in reverse order, which allows the audience to experience a state of imperfect memory. As Leonard Shelby, the film’s main character, explains: “With my condition, you don’t know anything. You feel angry, guilty, and you don’t know why. You could do something terrible and not have the faintest idea ten minutes later.” Faraday appears to suffer from a narrower or less severe variety of memory loss than Leonard Shelby. Daniel’s memory problems will open up a number of new storytelling possibilities, but Daniel’s story should also take the concept into its own, unique direction.)
In addition to the innovations of Season Four, Eggtown also included a traditional, Season-One-style, Lost story, centering around Kate Austen. The episode brought about a conclusion of sorts to a story arc that was introduced in Lost’s very first character-centric episode, Tabula Rasa. The central theme of Kate’s fugitive storyline has always been the difference between freedom and imprisonment. Since the murder of her father, Kate spent her entire life running away from prisons, both actual and symbolic. Seemingly, the island offered Kate a chance to be free. Even that initial Kate episode, though, suggested that her newfound freedom was merely an illusion.
KATE: In case you hadn't noticed, I did get away.
MARSHAL: You don't look free to me. (Tabula Rasa)
What does it mean to be free? The most basic definition of freedom is the absence of physical constraints: things like handcuffs, prison cells, or threat of physical harm. Sawyer, for instance, regards his current position on the island as a state of freedom. He can do whatever he wants to do, whenever he wants to do it, without many consequences. In Eggtown as well as in The Economist, Sawyer presents Kate with the chance to share in his independent lifestyle. He offers her an escape from the outside threats to her liberty, as well as comfort and security: “If you think there’s anything waiting for you back home other than handcuffs, you really don’t know how the world works. Look around us, Freckles. We’ve got roofs over our heads. Electricity, showers, beds.” Sawyer’s concept of freedom, although not without its merits, can be measured in terms of physical objects. To a lesser extent, Miles, an echo of Sawyer, also voices this same perspective: “If I were you, I would stay right here.”
If you adopt the same concept of freedom as Sawyer and Miles, then Kate’s decision to leave the island seems foolish. Despite what you might hear about Kate from a number of the show's fans, though, she is not stupid. Kate does know how the world works, and she understands that she faces an unpleasant ordeal back home. Even with this knowledge, she still chooses to go back. Freedom remains her objective, but she holds a different definition of the word than the one that Sawyer presented. Paradoxically, how can Kate’s choice to face trial be regarded as an expression of freedom? One possible answer to this question comes from Rousseau – not our Danielle, the noble savage herself, but her namesake, the French philosopher Jean Jacques Rousseau. Among other things, Rousseau’s work argued a concept of moral freedom, which is characterized not by physical license, but by obedience to duty.
"Freedom is obedience to the law which one has laid down for oneself." - Jean Jacques Rousseau
In Eggtown, Kate’s interactions with Sawyer play the deciding role in exposing her ultimate concept of freedom. Sawyer treats the prospect of raising a child as the worst thing in the world. In Sawyer’s present view, a child presents an obstacle to freedom, no differently than any other obstacle. He sees parenthood as a prison, one which would hinder his ability to do what he desires. Not long ago, in the episode I Do, Kate expressed that exact same reaction: “I almost had a baby. Me, a baby! I can't do this!” By observing Sawyer’s response to her possible pregnancy, Kate sees a reflection of what she herself used to be. Instead of agreeing with him, Kate finds the source of her disagreement with his worldview. Kate does not see moral duty necessarily as a bad thing.
Even though Kate’s actions often show a dubious morality, she still possesses a strong sense of right and wrong. Kate’s powerful conscience continued to torment her relentlessly. In many ways, Marshal Edward Mars, a recurring character in Kate’s story, served as the representation of that conscience. Obsessed with bringing Kate to justice, the Marshal hunted Kate down all over the globe. Long after his death, Kate’s conscience finished his work for him, and brought her back home to be put on trial. The opening shot of Eggtown’s first flash-forward scene blurs the background intentionally, so that the man out-of-focus (Kate’s lawyer) bears a striking resemblance to the deceased Marshal. The lawyer also vocalizes Kate’s conscience in this scene, as he tells her, “Yes, [there is a back-door], but you’re going through the front door with your head held high.” Kate’s story suggests that she could not find true freedom by running and hiding, but only by standing firm in the face of threats. In order to be free, you need to risk your own liberty. Kate chose to face the responsibility to herself and to her son, the duty to put an end to that chapter of her life.
One of the most persistent criticisms against Kate has always been that she will not hesitate to use any of the other adults in her life to serve her own interests. On the island, she successively manipulates Hurley, Sawyer, Locke, Miles, and Ben in a plot to uncover information useful only to herself. By contrast, the flash-forward scenes stress Kate’s steadfast unwillingness to use her new son Aaron in the same way. First, Kate rejects her attorney’s reasonable advice to use the child to gain the jury’s sympathy. Her lawyer still tries to use her son in a roundabout way, but Kate cuts off the examination right before Jack begins to testify about Aaron. Kate’s mother even offers to sabotage the case, requesting only to see her grandson in return, but Kate refuses to utilize him even in that small way. In her final exchange with Jack, she once again makes her position clear: she values Aaron’s well-being above all else, including her own interests.
Whether or not you respect Kate’s overall morals, one cannot help but admire her newfound maturity in this instance. One of the most frequently discussed questions among Lost fans has always been: whom will Kate choose? The general consensus always seemed to be that she needed to decide between Jack and Sawyer. Few people ever would have expected that eventually Kate would select Baby Aaron as the one guy she loves more than any other. Her story still leaves open the potential for future romantic involvement with both men, but only on the condition that her partner shares those priorities. For different reasons, neither Jack nor Sawyer feels willing to make that kind of commitment to both Kate and the child. At the conclusion of the episode, Kate has found the freedom that eluded her for so long, both in the physical sense, and in Rousseau’s notion of moral freedom: Kate adheres to the moral laws that she has defined for herself.
In addition to Kate’s story, Eggtown includes another curious exploration of the notions of freedom and imprisonment, through the interplay of Locke and Ben. In the opening scene, Ben once again shows that Locke’s physical power over his body pales in comparison to his mental control over Locke’s mind. Ben alludes to his previous imprisonment in the Swan armory (the same man in a different place), but it is also important to note that Ben now resides in the same location in which Locke found Cooper (a different man in the same place). Even though Miles is in chains, he too appears to exercise more freedom than his keeper, as he tells us that he is ‘exactly where he wants to be.’
In one of Locke’s first flashback scenes of the Season One episode Walkabout, Locke stated that “Patience […] is the hallmark of a leader”. If that maxim holds true, then Locke has a long way to evolve before he can become a great leader. Right now, his impatience is his downfall (just as it was with the hatch in Season Two). In this episode, he responds to the constant undercutting of his authority, not by adapting to the psychological game, but by resorting to physical bullying. Locke has not yet reached the point where he will ‘shoot people in the head and continue on with his day,’ but his treatment of Miles suggests that he might not be very far from it. Hurley’s flash-forward scenes created a sense of impending doom about the destiny of John’s new flock, and now Kate’s flash-forward suggests that Claire may be the one to suffer the same fate as Boone.
It seems more possible than ever that Locke’s story will end in tragedy and not triumph: he’s more lost than he’s ever been. For now, though, Kate’s story offers us hope that at least some Lost characters eventually may find what they’ve been seeking.
Which came first, the chicken or the egg?
Which of these two things is the cause and which is the effect? If every effect in the universe has a cause, then what was the ultimate cause that came before all of those causes? This paradox of causality has persisted throughout history, for everyone from Aristotle to Stephen Hawking. (If you don’t enjoy these types of riddles, then Locke shows us perhaps the only way to escape this endless puzzle: simply eat all of the eggs and kill the chicken.)
Now that four episodes of this new season have aired, Season Four has developed its own unique style. The secret of this format lies in the old riddle of the chicken and the egg: this episode reveals the image of the eggs, but never shows us the chicken that produced them. In this story, effects precede causes. Each of the four flash-forward episodes presented us with a series of eggs, but the chickens that caused them remain conveniently off-screen. Through the Looking Glass showed Jack’s downward spiral, but failed to reveal the identity of the man whose death triggered it. In Hurley's flashes, he expressed regret for his decision to follow Locke, but he remained unable to speak about the disaster that caused it. Sayid’s episode concluded with the mention of some similar tragedy, one so horrible that it persuaded him to sell his soul to his enemy. Finally, Kate’s tale now includes the startling revelation that she will live off the island as the adoptive mother of Claire’s son Aaron, without leaving much indication as to why. In each case, the audience is free to speculate about what causes could have possibly produced these effects. Examining these eggs, though, does little to help us visualize the chickens that produced them.
One particular scene in Eggtown, which focuses on newcomer Daniel Faraday, offers perhaps an even better metaphor for the new format: memory loss. Daniel can remember the faces of two out of the three playing cards, but he guesses the third card incorrectly. The results of Charlotte’s test now place Daniel’s introductory scenes in a new light: Daniel might know something important about the island, and be unable to remember it. This revelation also explains why Miles needed to remind him about the meaning of Naomi’s last words: he simply forgot. In many ways, Daniel, as a man incapable of remembering the recent past, may become the antithesis of Desmond, the man capable of remembering the near future. The flash-forward scenes of Season Four, by leaving a large span of time concealed, place the viewer in a predicament similar to ones faced by Desmond or Daniel: we have access to two out of the three parts of the story, but we can only guess the third. Expect next week's epsiode, The Constant, to explore this idea in greater depth.
(Antero-grade amnesia, loss of short-term memory, also serves as the focus of the remarkable 2000 feature film, Memento, from director Christopher Nolan. I highly recommend this film to anyone who has not seen it. Not only does it hold plenty of significance for interpreting Lost, but it is also an exceptional work on its own, and my favorite movie of this decade. Memento is another inventive, nonlinear story that explores many of the same motifs as Lost: time, mirroring, revenge, and identity. Essentially, the film presents a series of flashbacks in reverse order, which allows the audience to experience a state of imperfect memory. As Leonard Shelby, the film’s main character, explains: “With my condition, you don’t know anything. You feel angry, guilty, and you don’t know why. You could do something terrible and not have the faintest idea ten minutes later.” Faraday appears to suffer from a narrower or less severe variety of memory loss than Leonard Shelby. Daniel’s memory problems will open up a number of new storytelling possibilities, but Daniel’s story should also take the concept into its own, unique direction.)
In addition to the innovations of Season Four, Eggtown also included a traditional, Season-One-style, Lost story, centering around Kate Austen. The episode brought about a conclusion of sorts to a story arc that was introduced in Lost’s very first character-centric episode, Tabula Rasa. The central theme of Kate’s fugitive storyline has always been the difference between freedom and imprisonment. Since the murder of her father, Kate spent her entire life running away from prisons, both actual and symbolic. Seemingly, the island offered Kate a chance to be free. Even that initial Kate episode, though, suggested that her newfound freedom was merely an illusion.
KATE: In case you hadn't noticed, I did get away.
MARSHAL: You don't look free to me. (Tabula Rasa)
What does it mean to be free? The most basic definition of freedom is the absence of physical constraints: things like handcuffs, prison cells, or threat of physical harm. Sawyer, for instance, regards his current position on the island as a state of freedom. He can do whatever he wants to do, whenever he wants to do it, without many consequences. In Eggtown as well as in The Economist, Sawyer presents Kate with the chance to share in his independent lifestyle. He offers her an escape from the outside threats to her liberty, as well as comfort and security: “If you think there’s anything waiting for you back home other than handcuffs, you really don’t know how the world works. Look around us, Freckles. We’ve got roofs over our heads. Electricity, showers, beds.” Sawyer’s concept of freedom, although not without its merits, can be measured in terms of physical objects. To a lesser extent, Miles, an echo of Sawyer, also voices this same perspective: “If I were you, I would stay right here.”
If you adopt the same concept of freedom as Sawyer and Miles, then Kate’s decision to leave the island seems foolish. Despite what you might hear about Kate from a number of the show's fans, though, she is not stupid. Kate does know how the world works, and she understands that she faces an unpleasant ordeal back home. Even with this knowledge, she still chooses to go back. Freedom remains her objective, but she holds a different definition of the word than the one that Sawyer presented. Paradoxically, how can Kate’s choice to face trial be regarded as an expression of freedom? One possible answer to this question comes from Rousseau – not our Danielle, the noble savage herself, but her namesake, the French philosopher Jean Jacques Rousseau. Among other things, Rousseau’s work argued a concept of moral freedom, which is characterized not by physical license, but by obedience to duty.
"Freedom is obedience to the law which one has laid down for oneself." - Jean Jacques Rousseau
In Eggtown, Kate’s interactions with Sawyer play the deciding role in exposing her ultimate concept of freedom. Sawyer treats the prospect of raising a child as the worst thing in the world. In Sawyer’s present view, a child presents an obstacle to freedom, no differently than any other obstacle. He sees parenthood as a prison, one which would hinder his ability to do what he desires. Not long ago, in the episode I Do, Kate expressed that exact same reaction: “I almost had a baby. Me, a baby! I can't do this!” By observing Sawyer’s response to her possible pregnancy, Kate sees a reflection of what she herself used to be. Instead of agreeing with him, Kate finds the source of her disagreement with his worldview. Kate does not see moral duty necessarily as a bad thing.
Even though Kate’s actions often show a dubious morality, she still possesses a strong sense of right and wrong. Kate’s powerful conscience continued to torment her relentlessly. In many ways, Marshal Edward Mars, a recurring character in Kate’s story, served as the representation of that conscience. Obsessed with bringing Kate to justice, the Marshal hunted Kate down all over the globe. Long after his death, Kate’s conscience finished his work for him, and brought her back home to be put on trial. The opening shot of Eggtown’s first flash-forward scene blurs the background intentionally, so that the man out-of-focus (Kate’s lawyer) bears a striking resemblance to the deceased Marshal. The lawyer also vocalizes Kate’s conscience in this scene, as he tells her, “Yes, [there is a back-door], but you’re going through the front door with your head held high.” Kate’s story suggests that she could not find true freedom by running and hiding, but only by standing firm in the face of threats. In order to be free, you need to risk your own liberty. Kate chose to face the responsibility to herself and to her son, the duty to put an end to that chapter of her life.
One of the most persistent criticisms against Kate has always been that she will not hesitate to use any of the other adults in her life to serve her own interests. On the island, she successively manipulates Hurley, Sawyer, Locke, Miles, and Ben in a plot to uncover information useful only to herself. By contrast, the flash-forward scenes stress Kate’s steadfast unwillingness to use her new son Aaron in the same way. First, Kate rejects her attorney’s reasonable advice to use the child to gain the jury’s sympathy. Her lawyer still tries to use her son in a roundabout way, but Kate cuts off the examination right before Jack begins to testify about Aaron. Kate’s mother even offers to sabotage the case, requesting only to see her grandson in return, but Kate refuses to utilize him even in that small way. In her final exchange with Jack, she once again makes her position clear: she values Aaron’s well-being above all else, including her own interests.
Whether or not you respect Kate’s overall morals, one cannot help but admire her newfound maturity in this instance. One of the most frequently discussed questions among Lost fans has always been: whom will Kate choose? The general consensus always seemed to be that she needed to decide between Jack and Sawyer. Few people ever would have expected that eventually Kate would select Baby Aaron as the one guy she loves more than any other. Her story still leaves open the potential for future romantic involvement with both men, but only on the condition that her partner shares those priorities. For different reasons, neither Jack nor Sawyer feels willing to make that kind of commitment to both Kate and the child. At the conclusion of the episode, Kate has found the freedom that eluded her for so long, both in the physical sense, and in Rousseau’s notion of moral freedom: Kate adheres to the moral laws that she has defined for herself.
In addition to Kate’s story, Eggtown includes another curious exploration of the notions of freedom and imprisonment, through the interplay of Locke and Ben. In the opening scene, Ben once again shows that Locke’s physical power over his body pales in comparison to his mental control over Locke’s mind. Ben alludes to his previous imprisonment in the Swan armory (the same man in a different place), but it is also important to note that Ben now resides in the same location in which Locke found Cooper (a different man in the same place). Even though Miles is in chains, he too appears to exercise more freedom than his keeper, as he tells us that he is ‘exactly where he wants to be.’
In one of Locke’s first flashback scenes of the Season One episode Walkabout, Locke stated that “Patience […] is the hallmark of a leader”. If that maxim holds true, then Locke has a long way to evolve before he can become a great leader. Right now, his impatience is his downfall (just as it was with the hatch in Season Two). In this episode, he responds to the constant undercutting of his authority, not by adapting to the psychological game, but by resorting to physical bullying. Locke has not yet reached the point where he will ‘shoot people in the head and continue on with his day,’ but his treatment of Miles suggests that he might not be very far from it. Hurley’s flash-forward scenes created a sense of impending doom about the destiny of John’s new flock, and now Kate’s flash-forward suggests that Claire may be the one to suffer the same fate as Boone.
It seems more possible than ever that Locke’s story will end in tragedy and not triumph: he’s more lost than he’s ever been. For now, though, Kate’s story offers us hope that at least some Lost characters eventually may find what they’ve been seeking.
Saturday, February 23, 2008
Prognosis: The Empire Never Ended by J.Wood
Courtesy of Powells.com
Here is the latest recap by J.Wood of Eggtown. It's fairly detailed, even by J.Woods standards :)
What if God was a zebra? That's what the protagonist of Philip K. Dick's Valis thinks it is. He has his reasons: The benign power that invades the world is some rational intervention upon an irrational world, and that power allows the protagonist to see it:
Normally it remained camouflaged. Normally when it appeared no one could distinguish it from ground-set to ground, as Fat correctly expressed it. He had a name for it.
Zebra. Because it blended. The name for this is mimesis. Another name is mimicry. Certain insects do this; they mimic other things: sometimes other insects-poisonous ones-or twigs and the like. Certain biologists and naturalists have speculated that higher forms of mimicry might exist, since lower forms-which is to say, forms which fool those intended to be fooled but not us-have been found all over the world. (Valis, 69)
This is one of three texts that are sitting underneath the fourth episode of the fourth season, “Eggtown,” itself supposedly a Depression-era euphemism for a town that doesn't offer a salesperson any good sales (nothing but eggs, which spoil quickly). Locke delivers Ben's copy of Philip K. Dick's Valis to Ben with breakfast, Sawyer is spotted reading Adolfo Bioy Casares' phantastic novella The Invention of Morel (which Jorge Luis Borges described as having a perfect plot), and there is a return to the philosopher John Locke's Second Treatise of Government.
Here is the latest recap by J.Wood of Eggtown. It's fairly detailed, even by J.Woods standards :)
What if God was a zebra? That's what the protagonist of Philip K. Dick's Valis thinks it is. He has his reasons: The benign power that invades the world is some rational intervention upon an irrational world, and that power allows the protagonist to see it:
Normally it remained camouflaged. Normally when it appeared no one could distinguish it from ground-set to ground, as Fat correctly expressed it. He had a name for it.
Zebra. Because it blended. The name for this is mimesis. Another name is mimicry. Certain insects do this; they mimic other things: sometimes other insects-poisonous ones-or twigs and the like. Certain biologists and naturalists have speculated that higher forms of mimicry might exist, since lower forms-which is to say, forms which fool those intended to be fooled but not us-have been found all over the world. (Valis, 69)
This is one of three texts that are sitting underneath the fourth episode of the fourth season, “Eggtown,” itself supposedly a Depression-era euphemism for a town that doesn't offer a salesperson any good sales (nothing but eggs, which spoil quickly). Locke delivers Ben's copy of Philip K. Dick's Valis to Ben with breakfast, Sawyer is spotted reading Adolfo Bioy Casares' phantastic novella The Invention of Morel (which Jorge Luis Borges described as having a perfect plot), and there is a return to the philosopher John Locke's Second Treatise of Government.
The obvious text to start with—and the one with possibly the richest cache of data to mine and gets the most attention here—is Valis, the first book in a trilogy Dick wrote in the 1970's. "Valis" stands for Vast Active Living Intelligence System, and it comes from a film in the book. The novel itself is a strange hybrid fiction that does double-duty as fiction and biography, voicing of PKD's own ideas and experiences thorugh the mouth a literary mirror twin he constructs for the purpose. But a little background: Most people know PKD even if they don't think they do. If you've seen the films Blade Runner, A Scanner Darkly, Total Recall, or Minority Report, you've seen adaptations of his work. (PKD only lived to see the production of Blade Runner; he died from a stroke before the film hit the theaters in 1982.) If you've seen The Matrix, any of its sequels, or any Matrix-like films (precursors like 12 Monkeys—and La Jetée before that, or Donnie Darko, or Abre los Ojos), you've seen a story that's either in the writer's debt or is taking part in the same conversations.
Dick had interests in the fields of philosophy, science fiction, psychology, pharmaceutics, theology, and mysticism, which he worked into his recurrent themes of paranoia, conspiracies, psyches splitting into component parts, and the persistent questioning of the nature of reality. To those who study the intersections of those subjects, PKD is a kind of mad saint. One thing that sets his work apart from something like Los. Bros. Wachowski, though, is how consistent the questioning of reality is in his works. Consider The Matrix: Neo is shown the actual Chicago, "Welcome to the desert of the real" and all that, and goes off with Morpheus to download jujitsu into his noggin. The problem is that Neo doesn't question if the world Morpheus shows him is yet another illusion (after all, if there's one...). PKD's narratives, if not his characters, are not as naïve. Once they come to some breakthrough in their understanding of reality, that understanding is the next thing to get interrogated and questioned. It's a skeptical move made consistently throughout the first volume of Valis, and is something we're getting increasingly used to in Lost.
For a good introduction to the impulse behind Valis, the artist R. Crumb has a short comic called “The Religious Experience of Philip K. Dick” in the 17th issue of Weirdo (1986). It depicts some of the events that lead up to Dick's writing the book. Crumb's economic use of text/image conveys what follows better than I can in words alone, and can be read online. But I'll try, and I'll weave in Dick's biography with what he does with Valis; it's a famous tale among PKD fans.
Much of the material from Valis comes from PKD's experiences between 1974-76. Dick was never fully certain whether he was undergoing some transcendent experience or going mad, or whether there was a difference. The fact that Dick tweaked his brain to the edge with amphetamines didn't help matters, and he was quite aware that he was not in a good position to judge whether what he was going through was paranoid hallucination or actual experience. But the information he amassed about cosmology and cosmogony during that period shaped the rest of his life and work, and he presents that information through the cipher of of his protagonist, Horselover Fat. It's never quite clear which details are PKD's shot trough HLF, and which are elaborations as a way of working out what he experienced. What's more, a science fiction writer named Phil appears in his own book and is the narrator who talks with HLF. Phil is eventually confronted about how he and HLF are the same person: Philip > philo: Greek for love; Philip > hippos: Greek for horse; Dick > means fat in German. Philip becomes a contraction for the Greek terms, yielding horselover, and Fat is just a play on Dick's last name. Dick effectively creates his own mirror twin and as the two interact in the novel. One could go through PKD's "exegesis" to piece apart the biography from the fiction. The exegesis are notes he took about his ideas, but there's some 8,000 pages of them, some are absurd and show an unbalanced mind, some are incredibly insightful, but who's to say how much of that is biography and how much is fiction... HLF has a similar exegesis.
In 1974 PKD had an impacted wisdom tooth removed, and was administered sodium pentothal for the procedure (the truth drug, also used as an anesthetic). He wasn't given anything for the post-op pain, and after some mind-numbing suffering, he called the pharmacy for some painkillers. When the delivery woman arrived at his home with the painkillers, he opened the door and was struck; she wore a gold vesica piscis pendant, a Jesus fish, and the light bounced off it in a strange pink hue and struck him in the head (more on this symbol in a moment; it's hardly just a fish). He was transfixed, and then his world started to fall apart; the scene outside his door disappeared, and instead looking out on a southern California town, he was looking out at the early Christian world, when Christians were still persecuted; people spoke Greek and they wore the piscis as a secret symbol to each other. It's all a bit like Desmond's flashes. Horselover Fat goes through the same experience in Valis, and starts hearing language in koine Greek; HLF did not know Greek, but the words he transcribes turn out to be accurate Greek phrases.
Dick/Fat explained this wasn't a hallucination; he called it a kind of anamnesis, the loss of forgetfulness, and he experienced it time and again in the following year. (Speaking of loss of forgetfulness, this is essentially what Faraday was working on when he was trying to recall which playing cards Charlotte laid out.) PKD felt his mind had been invaded by some greater intelligence, and he was remembering through this intelligence experiences he shared with that intelligence, but didn't know about. Over the next two years while this intelligence remained, PKD got his life together like never before. He came to understand that this other intelligence was an early Christian, from 2,000 years before. But this other person—he called him Thomas (twin)—had been also other people. Furthermore, these past times weren't really past; they were occurring right then and there:
"Thomas," Fat told me, "is smarter than I am, and he knows more than I do. Of the two of us Thomas is the master personality." He considered that good; woe unto someone who has an evil or stupid other-personality in his head!
I said, "You mean once you were Thomas. You're a reincarnation of him and you remembered him and his--"
"No, he's living now. Living in ancient Rome now. And he is not me. Reincarnation has nothing to do with it."
"But your body," I said.
Fat stared at me, nodding. "Right. It means my body is either in two space-time continua simultaneously, or else my body is nowhere at all." (109)
Sound familiar? In entry #35 of his own exegesis, HLF parses the Richard Wagner's opera Parsifal, when Gurnemanz explains to Parsifal that in the forest maze, time turns into space. Read on for a familiar theme and name:
(The whole landscape becomes indistinct. A forest ebbs out and a wall of rough rock ebbs in, through which can be seen a gateway. The two men pass through the gateway. What happened to the forest? The two men did not really move; they did not really go anywhere, and yet they are not now where they originally were. Here time turns into space. Wagner began Parsifal in 1845. He died in 1873, long before Hermann Minkowski postulated four-dimensional space-time (1908). The source-basis for Parsifal consisted of Celtic legends, and Wagner's research into Buddhism for his never-written opera about the Buddha to be called "The Victors" (Die Sieger). Where did Richard Wagner get the notion that time could turn into space?)
And if time can turn into space, can space turn into time? (40-41)
PKD/HLF came to believe that Thomas was also Elijah, John the Baptist, Dionysos, the Buddha, and many others, all at once. They were, according the HLF, homoplasmates—living human embodiments of the Logos, the Logos being not simply the word of God through Christ, but living information, which was also a secret to transcend time. HLF called the Logos plasmate, and believed this secret was a technology for eternal life that the early Christians understood, as well as the Rosicrucian Order, the Renaissance alchemists, Apollonius of Tyana, Elijah, Dionysos, the Dogon of western Sudan, the Gnostics as recorded in the Nag Hammadi library, and others. The fish symbol, as well as being a representation of the age of Pisces, was a geometrical symbol of two circles with the same radius that each have their centers intersecting with the other circle's circumference. The center of that intersection is the fish symbol. Take just that central intersection image and twist it, and you get the double helix of DNA.
vesica piscis vesica twisted double helix
While spending time in a mental institution, HLF tells his doctor that the Logos, or plasmate, was living information that once in a person, would travel up the optic nerve and then over to the pineal gland—which some identify as the proverbial third eye. The Romans, HLF explains, hunted down all the people who were homoplasmates, because they were intent on freeing humanity from the grip of the empire. But the plasmate went dormant within the gnostic texts of the Nag Hammadi library. When the texts were discovered in 1945, the plasmate was set free. (It may be worth paying attention to what kind of conversations Hurley ends up having in his flashes at the mental institution.)
(Quick word on the pineal gland: This may be one of the more enigmatic parts of the brain. It helps regulate sleep and dreams, and according to psychiatrist Dr. Richard Strassman, it may also produce the chemical dimethyltryptamine, or DMT, a naturally-occurring chemical found both in the human body and some plants that causes consciousness to fully transcend known reality, like in dreams. Dr. Strassman conducted the first clinical research on DMT, which he published in his 2001 book DMT: The Spirit Molecule. Odd how this seems to rhyme with Horselover Fat's description of plasmate, or living information.)
So how did Horselover Fat (or Philip K. Dick) become a homoplasmate channel, a conduit for living information? HLF's friend Kevin suggests it was the intense pain he experienced with the wisdom tooth that brought it on. Many cultures use intense pain as a way to ritually transcend the human dimension and access whatever it is that is beyond our normal experience. Kevin talks about the Australian Aborigines accessing the Dream Time, which is another way of saying they access living information, or the Logos. If you saw A Man Called Horse, you saw the Sioux Sun Dance ritual, a particularly grueling version of a ritual common to many of the U.S. Plains Indians. In this version, a man has his chest pierced by bones attached to ropes, which are in turn attached to a pole. The man is in effect nearly suspended by the bones through his flesh. The ritual consists of dancing and prayer to the Great Spirit, and at a designated time, the man has to run backwards until the bones tear through his flesh. The ritual can take days, and it puts the person into a transcendent state in which he can commune with the Great Spirit. Such rituals go back thousands of years, and are common around the world. Kevin believes that the combination of the intense pain HLF experiences and the vision of the vesica piscis put HLF past this world into some larger communication, which HLF understands as the plasmate, or Logos.
For Horselover Fat, the gnostic texts are the hook, particularly Valentinus, an early Gnostic Christian theologian from Rome who lived in the second century CE. Valentinus had a monistic rather than dualistic world view, and after his death much of his work was wiped out by the church. But one of the Valentinian texts, The Gospel of Truth, was discovered in the Nag Hammadi library. The gnostic texts describe a variety of transcendent beings who, much like in Hinduism, seem to symbolically represent aspects of human psyche, emotions, and consciousness. The Gospel of Truth is a creation myth describing how the fall of Sophia (wisdom) gave rise to evil and error. When wisdom falls/fails, ignorance reigns; ignorance is fertile ground for fear, and fear and anguish grew into a fog that blinds people and leads to error.
HLF explains to his doctor that the creator of this world isn't the entity whom we consider to be God—that's an error. The creator of this world was a demiurge that was created when Sophia fell; it's name is Yaldabaoth, and it is deranged. Yaldabaoth is blind, HLF explains, and believes it is the only deity. Because it is deranged, the world it created—our world—is full of error and misinformation; the result is that the divine within all people is trapped in materiality. This trap of materiality is what HLF calls the black iron prison, and is what the Roman empire maintained; HLF further realizes that the prison is all around us, and that the empire never ended. Yaldabaoth, the manifestation of error, either doesn't realize it has trapped the divine in people within materiality or may have malevolent intentions, so the greater demiurge—what HLF calls Zebra—sent down Jesus to "enlighten" people, thereby freeing them. This angers error (presumably Yaldabaoth—the Valentinus text doesn't give the name, just calls it error), who then has Jesus nailed to a tree. Horselover Fat believes the secret knowledge possessed by the Gnostics, the alchemists, the Greek mystics and pre-Socratics, etc. was just that living information, or plasmate, and accessing that technology would lift the veil of error, dismantle the black iron prison, and result in eternal life. His evidence is the presence of the intelligence that invaded his mind, an intelligence that accessed the plasmate to become homoplasmate and eternal.
By the way, Yaldabaoth is depicted as having a serpent body and a monstrous, lion-like head; considering that Yaldabaoth is said to have introduced a kind of fog of fear that leads to error, and that it's depicted as serpent-like, Yaldabaoth may have an echo in our smoke monster. That's not to say the smoke monster is Yaldabaoth, just that there are some interesting rhymes. yaldabaoth
Valis is dense and rewarding, but isn't necessarily easy. This entire discussion could but shouldn't revolve just around Valis, so a couple points of closure: In entry #32 of his exegesis, HLF notes that what we experience as the world is the unfolding of a narrative about a woman who died long ago. He's talking about Sophia, the gnostic personification of wisdom, which is part of the divine syzygy comprised of wisdom and logos, Sophia and Christ. That's a great word, syzygy, and in this case it means she was part of a set of divine twins who together made a transcendent unified whole, rather like yin and yang. If I understand this correctly (and I'm leaving a lot out), the Sophia briefly left the logos and the divine syzygy and fell to our world. That's when things went a bit haywire; when she crashed into the material world, the result was the birth of Yaldabaoth and all that other stuff mentioned above. So syzygy is a kind of twin, but it also has another meaning; in astronomical terms, it's the alignment of three celestial bodies found in the same gravitation plane in a straight line. The sun, moon and earth would constitute the three bodies, and a eclipse would be a celestial syzygy. Coincidentally, on February 20th, the night before "Eggtown" aired, a total lunar eclipse—a syzygy—was visible in the Americas and parts of Europe and Africa.
Lastly, there is a section of Valis that takes on a very Lost-like mirror twin structure, when HLF sees a kind of psychedelic sci-fi film called Valis that depicts nearly everything he has experienced since the toothache, from the strange light that kicked off the invasion of the greater intelligence to the fish symbol and many parts between. The Vast Active Living Intelligence System of the film is controlled by a satellite that is never directly shown in the film, but upon further viewings, pops up in a calendar picture, in elements of montages, as a toy, in a flash cut, and elsewhere. Kevin tells HLF that they all have to see the film again because "ninety percent of the details are designed to go by you the first time-actually only go by your conscious mind; they register in your unconscious. I'd like to study the film frame by frame," (146). That could be the narrative model of Lost itself, which requires a similar kind of active scrutiny. Like Locke says to Ben when he gives him the copy of Valis, "You might catch something you missed the second time around" (like the name of HLF/PKD's group, the Siddhartha Society).
Valis wasn't the only book in "Eggtown"; in an HD moment, Sawyer is reading something while Hurley puts on Olivia Newton John's "Xanadu." The shot is just the blurred image of the top of the book (most likely sharper in high def), and the book is the Argentinian writer Adolfo Bioy Casares' The Invention of Morel (1940). This slim psychological novella is told from the point of view of an escaped fugitive who finds his way out to what he believes is a deserted island. After some time, though, he discovers he's not alone on the island, but what he believes are a group of well-off vacationers (he calls them intruders) turn out to be something quite different. The narrative is conveyed in an impressionistic fashion, not unlike Marlow in Joseph Conrad's Heart of Darkness, and it deals with some themes in common with both Valis and Lost; deceptions, immortality, messing with time and space, and meta-narrative questioning of narrative authority, all with a near magical-realist sci-fi aspect underpinning the narrative machinery. (The book was also the inspiration for Alain Reanais' 1961 film Last Year at Marienbad.)
Casares often worked with Jorge Luis Borges, who wrote the prologue for the book. They would have made a great writing team for Lost; they sometimes ghost-wrote for each other, and even collaborated on projects they ascribed to non-existent authors, or talked about non-existent authors as if they were just unknown, and then created some work by that author to prove his existence. These diversions were in their way alternate reality games, where they wove apocryphal texts of their own invention into some larger canon of their own construction. For all we know, Borges may have had a hand in writing The Invention of Morel; he states outright in the prologue that he discussed the details of the plot in depth the Casares. The footnotes that accompany the text provide a meta-commentary that question the fugitive's facts and assumptions, and it's not clear if those are by Casares or not.
The unnamed fugitive protagonist first carefully watches the vacationers he discovers from afar, and finds himself entranced by a woman, Faustine, who frequents a beach. He eventually discovers their hotel, but it takes him some time before he can bring himself to make any contact. As the fugitive continues his explorations, he overhears discussion of some disease on the island, and wonders why he's the only one who notices there are now two suns in the sky. How the fugitive sees the intruders isn't a far cry from how Horselover Fat perceives his flashes of the ancient world superimposed over California; they're ghostly images, like a secondary cell of film superimposed over a primary cell of film. The fugitive, unwilling to really approach anyone else on the island, is faced with the "nightmare of thinking" that the intruders, the ghostly images, the multiple suns, and the rest is a trap to capture him and send him back to prison. Of course he's operating with limited information, living in a fog of fear and error.
One of the intruders, Dr. Morel, has invented something that he wants to introduce to the others. It's a device similar to a film camera, but rather than just capturing a two-dimensional image, it can capture and replay a scene in its entirety, complete with texture and depth. "Imagine a stage on which our life during these seven days is acted out, complete in every detail. We are the actors. All our actions have been recorded," (66). Morel's idea is to record a scene of life that one would hope to live again in full, and with his machine, a person could relive that moment again and again, in perpetuity. Morel himself wants to relive a certain set of days with the vacationers/intruders and recorded them.
To say more would give up too much of the plot, so no more should be said at this point. But for those who are interested, a key scene occurs in the engine room that powers Morel's invention. Much like how the DHARMA Initiative chose the Lost island for its anomalous electromagnetic properties, Morel chose his island because of certain tidal currents that can be used to generate enough power for his invention. When the fugitive finds the engine room, he also learns something about mistaking illusion for reality (a very gnostic idea and Lost-like theme).
The fugitive and Horselover Fat aren't the only ones working through a fog of fear and error. Locke has seen better days. He earned what might be called political capital when he became the de facto leader of the Lostaways on the beach in the third season, but he uses his authority to frighten a faction of the group into following him to Otherville, and then admits to Kate that he's not running a dictatorship, but neither is it a democracy. What's interesting here is the premise of the split: Locke convinced some of the people that the unknown quantity just off their shores (the freighter folk) were a danger to be avoided at all costs. Jack and the rest chose to engage that threat and understand it, while Locke used it to sow fear and establish greater authority.
In his Second Treatise of Government, the philosopher John Locke discusses his version of the social contract, in which people give up some of their natural rights in exchange for protection, property, and protection of property. Locke's ideas were a strong influence on Thomas Jefferson and the Declaration of Independence, but Locke was not as averse to a monarchy as Jefferson; if the community determined a king best served their common social goals, then a monarchy was as preferable as a democracy; it's not a democracy, it's not a dictatorship, and the people remain the ultimate sovereign. When the leadership no longer reflects the will of the people, they've shifted out of the social contract and back to the state of nature, and the people have the right to rebel. A key point of the Lockean social contract is that punishments should fit the crime; if a leader's punishment exceeds the crime, that leader is abusing authority and shifting pack to a state of nature. Is shoving a live grenade in Miles' big mouth an appropriate punishment for his violation of Island Locke's law? And if not, are we seeing Locke sow the seeds of his own overthrow? He may have spent all the political capital he had.
Last thing: Recently Carlton Cuse and Damon Lindelof cleared up some questions about what they can do post-strike, and what that break provided them. They noted that had there not been a strike, they would have been working on the finale now, but now have an opportunity to react and adjust to audience response. That's great; the narrative remains a two-way street, and we can be sure that many of the theories floating around out there right now will be either confirmed or quickly quashed. Take Naomi's bracelet: They acknowledged that the bracelets only looked similar, but meant nothing more. Sayid's scene on the golf course did not take place after the Elsa scenes: "If we're going to jump time, we're not going to jump narrative order within the time jumps, too." So that clears that up. They stated they are PRO-spacetime-bending, but ANTI-paradox. I hope to come back to that, because it was a major point of David Lewis's possible worlds theory. Maybe one of the most interesting things Cuselof said, though, is that the future chronologies are in relationship with each other, but they're leaving it to the audience to create that larger chronology and identify those relationships. So keep your eyes peeled, kids: Jack said in court that only eight survived the crash; is Abaddon looking for the other 30-some survivors? What empires in Lost never ended?
(And with the Sayid confirmation, you know the writers are checking out what the audience has to say; we're not just passive data, we're participants.)
Dick had interests in the fields of philosophy, science fiction, psychology, pharmaceutics, theology, and mysticism, which he worked into his recurrent themes of paranoia, conspiracies, psyches splitting into component parts, and the persistent questioning of the nature of reality. To those who study the intersections of those subjects, PKD is a kind of mad saint. One thing that sets his work apart from something like Los. Bros. Wachowski, though, is how consistent the questioning of reality is in his works. Consider The Matrix: Neo is shown the actual Chicago, "Welcome to the desert of the real" and all that, and goes off with Morpheus to download jujitsu into his noggin. The problem is that Neo doesn't question if the world Morpheus shows him is yet another illusion (after all, if there's one...). PKD's narratives, if not his characters, are not as naïve. Once they come to some breakthrough in their understanding of reality, that understanding is the next thing to get interrogated and questioned. It's a skeptical move made consistently throughout the first volume of Valis, and is something we're getting increasingly used to in Lost.
For a good introduction to the impulse behind Valis, the artist R. Crumb has a short comic called “The Religious Experience of Philip K. Dick” in the 17th issue of Weirdo (1986). It depicts some of the events that lead up to Dick's writing the book. Crumb's economic use of text/image conveys what follows better than I can in words alone, and can be read online. But I'll try, and I'll weave in Dick's biography with what he does with Valis; it's a famous tale among PKD fans.
Much of the material from Valis comes from PKD's experiences between 1974-76. Dick was never fully certain whether he was undergoing some transcendent experience or going mad, or whether there was a difference. The fact that Dick tweaked his brain to the edge with amphetamines didn't help matters, and he was quite aware that he was not in a good position to judge whether what he was going through was paranoid hallucination or actual experience. But the information he amassed about cosmology and cosmogony during that period shaped the rest of his life and work, and he presents that information through the cipher of of his protagonist, Horselover Fat. It's never quite clear which details are PKD's shot trough HLF, and which are elaborations as a way of working out what he experienced. What's more, a science fiction writer named Phil appears in his own book and is the narrator who talks with HLF. Phil is eventually confronted about how he and HLF are the same person: Philip > philo: Greek for love; Philip > hippos: Greek for horse; Dick > means fat in German. Philip becomes a contraction for the Greek terms, yielding horselover, and Fat is just a play on Dick's last name. Dick effectively creates his own mirror twin and as the two interact in the novel. One could go through PKD's "exegesis" to piece apart the biography from the fiction. The exegesis are notes he took about his ideas, but there's some 8,000 pages of them, some are absurd and show an unbalanced mind, some are incredibly insightful, but who's to say how much of that is biography and how much is fiction... HLF has a similar exegesis.
In 1974 PKD had an impacted wisdom tooth removed, and was administered sodium pentothal for the procedure (the truth drug, also used as an anesthetic). He wasn't given anything for the post-op pain, and after some mind-numbing suffering, he called the pharmacy for some painkillers. When the delivery woman arrived at his home with the painkillers, he opened the door and was struck; she wore a gold vesica piscis pendant, a Jesus fish, and the light bounced off it in a strange pink hue and struck him in the head (more on this symbol in a moment; it's hardly just a fish). He was transfixed, and then his world started to fall apart; the scene outside his door disappeared, and instead looking out on a southern California town, he was looking out at the early Christian world, when Christians were still persecuted; people spoke Greek and they wore the piscis as a secret symbol to each other. It's all a bit like Desmond's flashes. Horselover Fat goes through the same experience in Valis, and starts hearing language in koine Greek; HLF did not know Greek, but the words he transcribes turn out to be accurate Greek phrases.
Dick/Fat explained this wasn't a hallucination; he called it a kind of anamnesis, the loss of forgetfulness, and he experienced it time and again in the following year. (Speaking of loss of forgetfulness, this is essentially what Faraday was working on when he was trying to recall which playing cards Charlotte laid out.) PKD felt his mind had been invaded by some greater intelligence, and he was remembering through this intelligence experiences he shared with that intelligence, but didn't know about. Over the next two years while this intelligence remained, PKD got his life together like never before. He came to understand that this other intelligence was an early Christian, from 2,000 years before. But this other person—he called him Thomas (twin)—had been also other people. Furthermore, these past times weren't really past; they were occurring right then and there:
"Thomas," Fat told me, "is smarter than I am, and he knows more than I do. Of the two of us Thomas is the master personality." He considered that good; woe unto someone who has an evil or stupid other-personality in his head!
I said, "You mean once you were Thomas. You're a reincarnation of him and you remembered him and his--"
"No, he's living now. Living in ancient Rome now. And he is not me. Reincarnation has nothing to do with it."
"But your body," I said.
Fat stared at me, nodding. "Right. It means my body is either in two space-time continua simultaneously, or else my body is nowhere at all." (109)
Sound familiar? In entry #35 of his own exegesis, HLF parses the Richard Wagner's opera Parsifal, when Gurnemanz explains to Parsifal that in the forest maze, time turns into space. Read on for a familiar theme and name:
(The whole landscape becomes indistinct. A forest ebbs out and a wall of rough rock ebbs in, through which can be seen a gateway. The two men pass through the gateway. What happened to the forest? The two men did not really move; they did not really go anywhere, and yet they are not now where they originally were. Here time turns into space. Wagner began Parsifal in 1845. He died in 1873, long before Hermann Minkowski postulated four-dimensional space-time (1908). The source-basis for Parsifal consisted of Celtic legends, and Wagner's research into Buddhism for his never-written opera about the Buddha to be called "The Victors" (Die Sieger). Where did Richard Wagner get the notion that time could turn into space?)
And if time can turn into space, can space turn into time? (40-41)
PKD/HLF came to believe that Thomas was also Elijah, John the Baptist, Dionysos, the Buddha, and many others, all at once. They were, according the HLF, homoplasmates—living human embodiments of the Logos, the Logos being not simply the word of God through Christ, but living information, which was also a secret to transcend time. HLF called the Logos plasmate, and believed this secret was a technology for eternal life that the early Christians understood, as well as the Rosicrucian Order, the Renaissance alchemists, Apollonius of Tyana, Elijah, Dionysos, the Dogon of western Sudan, the Gnostics as recorded in the Nag Hammadi library, and others. The fish symbol, as well as being a representation of the age of Pisces, was a geometrical symbol of two circles with the same radius that each have their centers intersecting with the other circle's circumference. The center of that intersection is the fish symbol. Take just that central intersection image and twist it, and you get the double helix of DNA.
vesica piscis vesica twisted double helix
While spending time in a mental institution, HLF tells his doctor that the Logos, or plasmate, was living information that once in a person, would travel up the optic nerve and then over to the pineal gland—which some identify as the proverbial third eye. The Romans, HLF explains, hunted down all the people who were homoplasmates, because they were intent on freeing humanity from the grip of the empire. But the plasmate went dormant within the gnostic texts of the Nag Hammadi library. When the texts were discovered in 1945, the plasmate was set free. (It may be worth paying attention to what kind of conversations Hurley ends up having in his flashes at the mental institution.)
(Quick word on the pineal gland: This may be one of the more enigmatic parts of the brain. It helps regulate sleep and dreams, and according to psychiatrist Dr. Richard Strassman, it may also produce the chemical dimethyltryptamine, or DMT, a naturally-occurring chemical found both in the human body and some plants that causes consciousness to fully transcend known reality, like in dreams. Dr. Strassman conducted the first clinical research on DMT, which he published in his 2001 book DMT: The Spirit Molecule. Odd how this seems to rhyme with Horselover Fat's description of plasmate, or living information.)
So how did Horselover Fat (or Philip K. Dick) become a homoplasmate channel, a conduit for living information? HLF's friend Kevin suggests it was the intense pain he experienced with the wisdom tooth that brought it on. Many cultures use intense pain as a way to ritually transcend the human dimension and access whatever it is that is beyond our normal experience. Kevin talks about the Australian Aborigines accessing the Dream Time, which is another way of saying they access living information, or the Logos. If you saw A Man Called Horse, you saw the Sioux Sun Dance ritual, a particularly grueling version of a ritual common to many of the U.S. Plains Indians. In this version, a man has his chest pierced by bones attached to ropes, which are in turn attached to a pole. The man is in effect nearly suspended by the bones through his flesh. The ritual consists of dancing and prayer to the Great Spirit, and at a designated time, the man has to run backwards until the bones tear through his flesh. The ritual can take days, and it puts the person into a transcendent state in which he can commune with the Great Spirit. Such rituals go back thousands of years, and are common around the world. Kevin believes that the combination of the intense pain HLF experiences and the vision of the vesica piscis put HLF past this world into some larger communication, which HLF understands as the plasmate, or Logos.
For Horselover Fat, the gnostic texts are the hook, particularly Valentinus, an early Gnostic Christian theologian from Rome who lived in the second century CE. Valentinus had a monistic rather than dualistic world view, and after his death much of his work was wiped out by the church. But one of the Valentinian texts, The Gospel of Truth, was discovered in the Nag Hammadi library. The gnostic texts describe a variety of transcendent beings who, much like in Hinduism, seem to symbolically represent aspects of human psyche, emotions, and consciousness. The Gospel of Truth is a creation myth describing how the fall of Sophia (wisdom) gave rise to evil and error. When wisdom falls/fails, ignorance reigns; ignorance is fertile ground for fear, and fear and anguish grew into a fog that blinds people and leads to error.
HLF explains to his doctor that the creator of this world isn't the entity whom we consider to be God—that's an error. The creator of this world was a demiurge that was created when Sophia fell; it's name is Yaldabaoth, and it is deranged. Yaldabaoth is blind, HLF explains, and believes it is the only deity. Because it is deranged, the world it created—our world—is full of error and misinformation; the result is that the divine within all people is trapped in materiality. This trap of materiality is what HLF calls the black iron prison, and is what the Roman empire maintained; HLF further realizes that the prison is all around us, and that the empire never ended. Yaldabaoth, the manifestation of error, either doesn't realize it has trapped the divine in people within materiality or may have malevolent intentions, so the greater demiurge—what HLF calls Zebra—sent down Jesus to "enlighten" people, thereby freeing them. This angers error (presumably Yaldabaoth—the Valentinus text doesn't give the name, just calls it error), who then has Jesus nailed to a tree. Horselover Fat believes the secret knowledge possessed by the Gnostics, the alchemists, the Greek mystics and pre-Socratics, etc. was just that living information, or plasmate, and accessing that technology would lift the veil of error, dismantle the black iron prison, and result in eternal life. His evidence is the presence of the intelligence that invaded his mind, an intelligence that accessed the plasmate to become homoplasmate and eternal.
By the way, Yaldabaoth is depicted as having a serpent body and a monstrous, lion-like head; considering that Yaldabaoth is said to have introduced a kind of fog of fear that leads to error, and that it's depicted as serpent-like, Yaldabaoth may have an echo in our smoke monster. That's not to say the smoke monster is Yaldabaoth, just that there are some interesting rhymes. yaldabaoth
Valis is dense and rewarding, but isn't necessarily easy. This entire discussion could but shouldn't revolve just around Valis, so a couple points of closure: In entry #32 of his exegesis, HLF notes that what we experience as the world is the unfolding of a narrative about a woman who died long ago. He's talking about Sophia, the gnostic personification of wisdom, which is part of the divine syzygy comprised of wisdom and logos, Sophia and Christ. That's a great word, syzygy, and in this case it means she was part of a set of divine twins who together made a transcendent unified whole, rather like yin and yang. If I understand this correctly (and I'm leaving a lot out), the Sophia briefly left the logos and the divine syzygy and fell to our world. That's when things went a bit haywire; when she crashed into the material world, the result was the birth of Yaldabaoth and all that other stuff mentioned above. So syzygy is a kind of twin, but it also has another meaning; in astronomical terms, it's the alignment of three celestial bodies found in the same gravitation plane in a straight line. The sun, moon and earth would constitute the three bodies, and a eclipse would be a celestial syzygy. Coincidentally, on February 20th, the night before "Eggtown" aired, a total lunar eclipse—a syzygy—was visible in the Americas and parts of Europe and Africa.
Lastly, there is a section of Valis that takes on a very Lost-like mirror twin structure, when HLF sees a kind of psychedelic sci-fi film called Valis that depicts nearly everything he has experienced since the toothache, from the strange light that kicked off the invasion of the greater intelligence to the fish symbol and many parts between. The Vast Active Living Intelligence System of the film is controlled by a satellite that is never directly shown in the film, but upon further viewings, pops up in a calendar picture, in elements of montages, as a toy, in a flash cut, and elsewhere. Kevin tells HLF that they all have to see the film again because "ninety percent of the details are designed to go by you the first time-actually only go by your conscious mind; they register in your unconscious. I'd like to study the film frame by frame," (146). That could be the narrative model of Lost itself, which requires a similar kind of active scrutiny. Like Locke says to Ben when he gives him the copy of Valis, "You might catch something you missed the second time around" (like the name of HLF/PKD's group, the Siddhartha Society).
Valis wasn't the only book in "Eggtown"; in an HD moment, Sawyer is reading something while Hurley puts on Olivia Newton John's "Xanadu." The shot is just the blurred image of the top of the book (most likely sharper in high def), and the book is the Argentinian writer Adolfo Bioy Casares' The Invention of Morel (1940). This slim psychological novella is told from the point of view of an escaped fugitive who finds his way out to what he believes is a deserted island. After some time, though, he discovers he's not alone on the island, but what he believes are a group of well-off vacationers (he calls them intruders) turn out to be something quite different. The narrative is conveyed in an impressionistic fashion, not unlike Marlow in Joseph Conrad's Heart of Darkness, and it deals with some themes in common with both Valis and Lost; deceptions, immortality, messing with time and space, and meta-narrative questioning of narrative authority, all with a near magical-realist sci-fi aspect underpinning the narrative machinery. (The book was also the inspiration for Alain Reanais' 1961 film Last Year at Marienbad.)
Casares often worked with Jorge Luis Borges, who wrote the prologue for the book. They would have made a great writing team for Lost; they sometimes ghost-wrote for each other, and even collaborated on projects they ascribed to non-existent authors, or talked about non-existent authors as if they were just unknown, and then created some work by that author to prove his existence. These diversions were in their way alternate reality games, where they wove apocryphal texts of their own invention into some larger canon of their own construction. For all we know, Borges may have had a hand in writing The Invention of Morel; he states outright in the prologue that he discussed the details of the plot in depth the Casares. The footnotes that accompany the text provide a meta-commentary that question the fugitive's facts and assumptions, and it's not clear if those are by Casares or not.
The unnamed fugitive protagonist first carefully watches the vacationers he discovers from afar, and finds himself entranced by a woman, Faustine, who frequents a beach. He eventually discovers their hotel, but it takes him some time before he can bring himself to make any contact. As the fugitive continues his explorations, he overhears discussion of some disease on the island, and wonders why he's the only one who notices there are now two suns in the sky. How the fugitive sees the intruders isn't a far cry from how Horselover Fat perceives his flashes of the ancient world superimposed over California; they're ghostly images, like a secondary cell of film superimposed over a primary cell of film. The fugitive, unwilling to really approach anyone else on the island, is faced with the "nightmare of thinking" that the intruders, the ghostly images, the multiple suns, and the rest is a trap to capture him and send him back to prison. Of course he's operating with limited information, living in a fog of fear and error.
One of the intruders, Dr. Morel, has invented something that he wants to introduce to the others. It's a device similar to a film camera, but rather than just capturing a two-dimensional image, it can capture and replay a scene in its entirety, complete with texture and depth. "Imagine a stage on which our life during these seven days is acted out, complete in every detail. We are the actors. All our actions have been recorded," (66). Morel's idea is to record a scene of life that one would hope to live again in full, and with his machine, a person could relive that moment again and again, in perpetuity. Morel himself wants to relive a certain set of days with the vacationers/intruders and recorded them.
To say more would give up too much of the plot, so no more should be said at this point. But for those who are interested, a key scene occurs in the engine room that powers Morel's invention. Much like how the DHARMA Initiative chose the Lost island for its anomalous electromagnetic properties, Morel chose his island because of certain tidal currents that can be used to generate enough power for his invention. When the fugitive finds the engine room, he also learns something about mistaking illusion for reality (a very gnostic idea and Lost-like theme).
The fugitive and Horselover Fat aren't the only ones working through a fog of fear and error. Locke has seen better days. He earned what might be called political capital when he became the de facto leader of the Lostaways on the beach in the third season, but he uses his authority to frighten a faction of the group into following him to Otherville, and then admits to Kate that he's not running a dictatorship, but neither is it a democracy. What's interesting here is the premise of the split: Locke convinced some of the people that the unknown quantity just off their shores (the freighter folk) were a danger to be avoided at all costs. Jack and the rest chose to engage that threat and understand it, while Locke used it to sow fear and establish greater authority.
In his Second Treatise of Government, the philosopher John Locke discusses his version of the social contract, in which people give up some of their natural rights in exchange for protection, property, and protection of property. Locke's ideas were a strong influence on Thomas Jefferson and the Declaration of Independence, but Locke was not as averse to a monarchy as Jefferson; if the community determined a king best served their common social goals, then a monarchy was as preferable as a democracy; it's not a democracy, it's not a dictatorship, and the people remain the ultimate sovereign. When the leadership no longer reflects the will of the people, they've shifted out of the social contract and back to the state of nature, and the people have the right to rebel. A key point of the Lockean social contract is that punishments should fit the crime; if a leader's punishment exceeds the crime, that leader is abusing authority and shifting pack to a state of nature. Is shoving a live grenade in Miles' big mouth an appropriate punishment for his violation of Island Locke's law? And if not, are we seeing Locke sow the seeds of his own overthrow? He may have spent all the political capital he had.
Last thing: Recently Carlton Cuse and Damon Lindelof cleared up some questions about what they can do post-strike, and what that break provided them. They noted that had there not been a strike, they would have been working on the finale now, but now have an opportunity to react and adjust to audience response. That's great; the narrative remains a two-way street, and we can be sure that many of the theories floating around out there right now will be either confirmed or quickly quashed. Take Naomi's bracelet: They acknowledged that the bracelets only looked similar, but meant nothing more. Sayid's scene on the golf course did not take place after the Elsa scenes: "If we're going to jump time, we're not going to jump narrative order within the time jumps, too." So that clears that up. They stated they are PRO-spacetime-bending, but ANTI-paradox. I hope to come back to that, because it was a major point of David Lewis's possible worlds theory. Maybe one of the most interesting things Cuselof said, though, is that the future chronologies are in relationship with each other, but they're leaving it to the audience to create that larger chronology and identify those relationships. So keep your eyes peeled, kids: Jack said in court that only eight survived the crash; is Abaddon looking for the other 30-some survivors? What empires in Lost never ended?
(And with the Sayid confirmation, you know the writers are checking out what the audience has to say; we're not just passive data, we're participants.)
The Episode League Table - Week 4 Update
Here is the latest League Table from all the votes we've collected so far from visitors of the site. This table is updated weekly.Although Eggtowns ratings are not as popular as the first 3 highly rated episodes, it's still far from being another Stranger in a Strange Land :)
If you have not yet voted on any of the previous episodes, you can see all the previous polls here.
(Click to Enlarge)
Friday, February 22, 2008
Episode 4.04 - Eggtown - Ratings
The ratings are in and Lost seems to have levelled off at steady 13.5 Million. Thanks to Unai from SL-LOST.COM for the nice graphics.
"Lost" (9:00-10:00 p.m.)
Surging from its lead-in by 8.0 million viewers and by 235% in Adults 18-49 (replay of the previous week's episode = 5.5 million & 1.7/4), ABC's "Lost" moved ABC into a dominant first place in the 9 o'clock hour for the fourth week in a row. Despite its decided lead-in advantage coming into the hour from "American Idol," "Lost" outperformed second-place Fox's "Don't Forget the Lyrics" by 1.0 million viewers (13.5 million vs. 12.5 million) and by 19% in Adults 18-49 (5.7/13 vs. 4.8/11).
(Click to Enlarge)
Source: ABC
"Lost" (9:00-10:00 p.m.)
Surging from its lead-in by 8.0 million viewers and by 235% in Adults 18-49 (replay of the previous week's episode = 5.5 million & 1.7/4), ABC's "Lost" moved ABC into a dominant first place in the 9 o'clock hour for the fourth week in a row. Despite its decided lead-in advantage coming into the hour from "American Idol," "Lost" outperformed second-place Fox's "Don't Forget the Lyrics" by 1.0 million viewers (13.5 million vs. 12.5 million) and by 19% in Adults 18-49 (5.7/13 vs. 4.8/11).
(Click to Enlarge)
Source: ABC
Not What We Eggspected by Jeff Jensen
Here is Jeff Jensen's take on Eggtown.
I usually jot down notes when I watch Lost. It's pretty necessary when you do a job like this. Take last night's episode, ''Eggtown.'' As John Locke, not-so-benevolent dictator of Old New Otherton, prepared Ben's breakfast during the opening sequence (two eggs, fruit, a copy of Philip K. Dick's Valis), I wrote the following:
''Other books on the bookshelf: The Sheltering Sky and something by Arthur C. Clarke.''
''Interesting: Locke is now sleeping in Ben's (hospital) bed — and here's Ben mocking the former invalid for being more helpless ('lost') than ever.''
''If Locke ran a bed and breakfast, what would he call it?''
I usually jot down notes when I watch Lost. It's pretty necessary when you do a job like this. Take last night's episode, ''Eggtown.'' As John Locke, not-so-benevolent dictator of Old New Otherton, prepared Ben's breakfast during the opening sequence (two eggs, fruit, a copy of Philip K. Dick's Valis), I wrote the following:
''Other books on the bookshelf: The Sheltering Sky and something by Arthur C. Clarke.''
''Interesting: Locke is now sleeping in Ben's (hospital) bed — and here's Ben mocking the former invalid for being more helpless ('lost') than ever.''
''If Locke ran a bed and breakfast, what would he call it?''
But as I reviewed my chicken scratches after the episode was over, I realized that I had accumulated far more questions than observations, ideas, theories, and/or lame jokes. Why didn't Kate want to bring her son to court? Is she trying to hide him from the world? Why did Jack tell the jury that only eight people survived the crash of Oceanic 815? According to the cover story of the Oceanic 6, who were the two who didn't make it? Who does Miles really work for? How does Ben know him? What was the significance of Daniel Faraday's guessing game with the cards? What happened to Frank Lapidus' helicopter? Why doesn't Jack want to see Kate's child? Speaking of said child, how did Aaron (!) become Kate's kid? What happened to Claire? And most of all: Why was the episode called ''Eggtown''?
It was one of those episodes of Lost where a few big answers came at the price of many, many more questions. If you're keeping score at home, this is what we can scratch off the Active Mystery List. Island Kate isn't pregnant. (I have to admit that I kinda forgot that was even a question.) The mystery man that Flash-Forward Kate referenced in the season finale last year was actually a mystery boy, Aaron. We now know — or at least reasonably assume — that Aaron is the fifth member of the Oceanic 6. And we now know what Hurley sounds like when he's going number two.
''Eggtown'' was technically a Kate flash-forward that revealed that the Oceanic 6 are nothing short of super-celebs. (Didn't Ms. Austin look Hollywood glam? Evie cleans up nicely, doesn't she?) But it was really all about bargaining and bartering, proposals and ultimatums. Perhaps the best way to recap the plot is by following the deals.
THE KATE-MILES PACT
Kate — perhaps truly enticed by Sawyer's proposal of making the Island their permanent address — asked freaky freighter dude Miles Straum for info about what kind of life waited for her off the Island if she went back. The caustic ghost whisperer agreed to help her — if she could arrange a meeting with Ben. Kate accepted his terms. But to pull it off, she needed to secure Sawyer's help, which led to some flirtatious banter between the two former Hydra humpers. Transaction status: Completed. Kate busted Miles out of his boathouse cell and into Ben's basement cell. In exchange, Miles informed her that yep, the freighter folk knew that she was a wanted lass and that a long prison sentence loomed in her future. Miles' suggestion: She should stay on the Island.
THE MILES-BEN PROPOSAL
The hotheaded hustler — tasked to track down über-Other Ben — told the Man With 1000 Passports that for exactly $3.2 million, he would tell his mysterious employer that he had found Ben dead. Ben asked the obvious questions: Why $3.2 million exactly? Why not 100 grand more? Heck, why not round it up to $3.5 mil? Miles dodged the question. When Ben clucked about not being able to scrounge up the dough, Miles got huffy: ''I know what you can do!'' Transaction status: Pending. Given his being a prisoner and all, Ben asked for a week to figure out how to fulfill his end of the bargain.
JACK-KATE: WINK-WINK, NUDGE-NUDGE
Kate's flash-forward dealt with her trial for her long list of crimes, beginning with killing her abusive father by blowing up their house. To help her cause, Kate's lawyer asked Flash-Forward Jack (pre-grizzly-beard edition) to testify as a character witness. Curiously, Jack's Bible-sworn testimony was a bunch of lies. He told the jury that only eight people survived the crash of Oceanic 815 and that Kate was a lifesaving Wonder Woman. Apparently, this fib is part of a larger cover story that the Oceanic 6 have agreed to stick to. Transaction status: Aborted. Kate cut Jack's testimony short. Interesting how Kate had no problem using Sawyer to get what she wanted in the Island story but was unwilling to similarly exploit Jack in the flash-forward tale. Perhaps this was her way of loving Jack: Maybe she understands how painful it is for him be ''living a lie,'' as Jack said in the season finale.
KATE AND HER MOTHER: GRANDMA'S GAMBIT
Kate's ailing yet clinging-to-life mother — the key witness for the prosecution in her daughter's trial — told Kate that she had no interest in testifying against her, though she seemed to suggest that the offer was contingent on being able to see the grandson she had never met. Transaction status: Spitefully rejected. Kate was still smarting over how Mom called the cops on her the last time they hooked up. But Kate's mother seemed to suggest that she had forgiven her because of her ''castaway hero'' part in the Oceanic 6 cover story. So much for unconditional love or forgiveness.
KATE'S PLEA DEAL
Give Mom a little credit: With Kate promising her nothing, she still backed out (or wheeled away) from testifying. Screwed, the prosecution offered a deal: 15 years in jail. Kate got panicky. Clearly, doing time would take her away from Aaron. But didn't you get the sense that there was more to her resistance than just motherly attachment? I have this theory that the Oceanic 6 know something about future events and, more, know something about the role that they must play in them. Being in jail would obviously really screw that up. Just a theory. After Kate's lawyer successfully spooked the prosecution with the prospect that a jury would probably side with her, the plea deal was knocked down to a mere 10 years' probation — and a promise that Kate would never leave the state. Transaction status: Accepted. Kate jumped at the deal. Case closed — and stakes established for when she ultimately changes her mind and joins Jack in his ''We gotta go back!'' quest. (At which time, I also predict that Kate will entrust Aaron to...her mother, finally completing their reconciliation.)
KATE AND JACK: THE DATING CONTRACT
In one of the episode's final scenes, Jack confessed to Kate that his I-don't-love-you stance on the stand was a lie. Kate got all weak in the knees and asked if he wanted to come back to her place. But Jack chickened out and said he had to get back to the hospital. Kate called him out: She said the real reason he was backing away was that he can't deal with Aaron. Transaction status: Deliberating. Jack didn't deny Kate's claim. What's up with that? I bet it either has something to do with the fact that Kate's child is his — what? — half nephew? Maybe Jack can't deal with Aaron because he reminds him of Claire — and if Claire met an unfortunate end on the Island, no doubt Doc Savior Complex blames himself.
All in all, I thought ''Eggtown'' was the Lost equivalent of a sacrifice bunt. It was all about moving all the simmering subplots forward so the next episodes can drive them home. (Prime examples: the allegedly-MIA-chopper intrigue; the Jin-Sun discussion about their post-Island home — both set up for future episodes.) For our indulgence, we were treated with some tantalizing new questions and some payoffs on some long-standing Kate mysteries.
Some quick hits:
Philip K. Dick's Valis In this trippy novel, one of Dick's best and most personal, ''Valis'' stands for ''Vast Acting Living Intelligence System.'' Sounds like the way Locke or Ben might regard the Island.
Locke putting the grenade in Miles' mouth Pretty cool — and kinda ridiculous. Locke suffered some challenges to his leadership in this episode, including a crisis of self-confidence. I guess stuffing an explosive into a bad guy's mouth is one way to feel like a man again. Sawyer is right: Locke is going Kurtz on us. The horror...the horror...
The Faraday-Charlotte card game The task involved Daniel correctly guessing what three overturned cards were. But the key line there is C.S. Lewis asking him, ''What do you remember?'' My interpretation: Daniel Faraday is a time traveler — or thinks he is a time traveler — and he's recovering memories of his past experience on the Island. Speaking of time travel:
The meaning of the title ''Eggtown'' I researched many options, include the significance to mythological ideas like the ''world egg'' and the ''cosmic egg.'' There could be a connection to the book Cracking the Cosmic Egg, too. But inspired by Locke's conspicuous mention of killing a chicken, I decided to investigate the Wikipedia write-up on the chicken and the egg. It has some interesting things to say about the theory of causality and ''the Grandfather Paradox,'' two important ideas in time-travel lore — and that's where we're headed next week.
Kate and Sawyer making out I think that was the last time. Don't you? How can she crawl back to him after he called her out like that?
It was one of those episodes of Lost where a few big answers came at the price of many, many more questions. If you're keeping score at home, this is what we can scratch off the Active Mystery List. Island Kate isn't pregnant. (I have to admit that I kinda forgot that was even a question.) The mystery man that Flash-Forward Kate referenced in the season finale last year was actually a mystery boy, Aaron. We now know — or at least reasonably assume — that Aaron is the fifth member of the Oceanic 6. And we now know what Hurley sounds like when he's going number two.
''Eggtown'' was technically a Kate flash-forward that revealed that the Oceanic 6 are nothing short of super-celebs. (Didn't Ms. Austin look Hollywood glam? Evie cleans up nicely, doesn't she?) But it was really all about bargaining and bartering, proposals and ultimatums. Perhaps the best way to recap the plot is by following the deals.
THE KATE-MILES PACT
Kate — perhaps truly enticed by Sawyer's proposal of making the Island their permanent address — asked freaky freighter dude Miles Straum for info about what kind of life waited for her off the Island if she went back. The caustic ghost whisperer agreed to help her — if she could arrange a meeting with Ben. Kate accepted his terms. But to pull it off, she needed to secure Sawyer's help, which led to some flirtatious banter between the two former Hydra humpers. Transaction status: Completed. Kate busted Miles out of his boathouse cell and into Ben's basement cell. In exchange, Miles informed her that yep, the freighter folk knew that she was a wanted lass and that a long prison sentence loomed in her future. Miles' suggestion: She should stay on the Island.
THE MILES-BEN PROPOSAL
The hotheaded hustler — tasked to track down über-Other Ben — told the Man With 1000 Passports that for exactly $3.2 million, he would tell his mysterious employer that he had found Ben dead. Ben asked the obvious questions: Why $3.2 million exactly? Why not 100 grand more? Heck, why not round it up to $3.5 mil? Miles dodged the question. When Ben clucked about not being able to scrounge up the dough, Miles got huffy: ''I know what you can do!'' Transaction status: Pending. Given his being a prisoner and all, Ben asked for a week to figure out how to fulfill his end of the bargain.
JACK-KATE: WINK-WINK, NUDGE-NUDGE
Kate's flash-forward dealt with her trial for her long list of crimes, beginning with killing her abusive father by blowing up their house. To help her cause, Kate's lawyer asked Flash-Forward Jack (pre-grizzly-beard edition) to testify as a character witness. Curiously, Jack's Bible-sworn testimony was a bunch of lies. He told the jury that only eight people survived the crash of Oceanic 815 and that Kate was a lifesaving Wonder Woman. Apparently, this fib is part of a larger cover story that the Oceanic 6 have agreed to stick to. Transaction status: Aborted. Kate cut Jack's testimony short. Interesting how Kate had no problem using Sawyer to get what she wanted in the Island story but was unwilling to similarly exploit Jack in the flash-forward tale. Perhaps this was her way of loving Jack: Maybe she understands how painful it is for him be ''living a lie,'' as Jack said in the season finale.
KATE AND HER MOTHER: GRANDMA'S GAMBIT
Kate's ailing yet clinging-to-life mother — the key witness for the prosecution in her daughter's trial — told Kate that she had no interest in testifying against her, though she seemed to suggest that the offer was contingent on being able to see the grandson she had never met. Transaction status: Spitefully rejected. Kate was still smarting over how Mom called the cops on her the last time they hooked up. But Kate's mother seemed to suggest that she had forgiven her because of her ''castaway hero'' part in the Oceanic 6 cover story. So much for unconditional love or forgiveness.
KATE'S PLEA DEAL
Give Mom a little credit: With Kate promising her nothing, she still backed out (or wheeled away) from testifying. Screwed, the prosecution offered a deal: 15 years in jail. Kate got panicky. Clearly, doing time would take her away from Aaron. But didn't you get the sense that there was more to her resistance than just motherly attachment? I have this theory that the Oceanic 6 know something about future events and, more, know something about the role that they must play in them. Being in jail would obviously really screw that up. Just a theory. After Kate's lawyer successfully spooked the prosecution with the prospect that a jury would probably side with her, the plea deal was knocked down to a mere 10 years' probation — and a promise that Kate would never leave the state. Transaction status: Accepted. Kate jumped at the deal. Case closed — and stakes established for when she ultimately changes her mind and joins Jack in his ''We gotta go back!'' quest. (At which time, I also predict that Kate will entrust Aaron to...her mother, finally completing their reconciliation.)
KATE AND JACK: THE DATING CONTRACT
In one of the episode's final scenes, Jack confessed to Kate that his I-don't-love-you stance on the stand was a lie. Kate got all weak in the knees and asked if he wanted to come back to her place. But Jack chickened out and said he had to get back to the hospital. Kate called him out: She said the real reason he was backing away was that he can't deal with Aaron. Transaction status: Deliberating. Jack didn't deny Kate's claim. What's up with that? I bet it either has something to do with the fact that Kate's child is his — what? — half nephew? Maybe Jack can't deal with Aaron because he reminds him of Claire — and if Claire met an unfortunate end on the Island, no doubt Doc Savior Complex blames himself.
All in all, I thought ''Eggtown'' was the Lost equivalent of a sacrifice bunt. It was all about moving all the simmering subplots forward so the next episodes can drive them home. (Prime examples: the allegedly-MIA-chopper intrigue; the Jin-Sun discussion about their post-Island home — both set up for future episodes.) For our indulgence, we were treated with some tantalizing new questions and some payoffs on some long-standing Kate mysteries.
Some quick hits:
Philip K. Dick's Valis In this trippy novel, one of Dick's best and most personal, ''Valis'' stands for ''Vast Acting Living Intelligence System.'' Sounds like the way Locke or Ben might regard the Island.
Locke putting the grenade in Miles' mouth Pretty cool — and kinda ridiculous. Locke suffered some challenges to his leadership in this episode, including a crisis of self-confidence. I guess stuffing an explosive into a bad guy's mouth is one way to feel like a man again. Sawyer is right: Locke is going Kurtz on us. The horror...the horror...
The Faraday-Charlotte card game The task involved Daniel correctly guessing what three overturned cards were. But the key line there is C.S. Lewis asking him, ''What do you remember?'' My interpretation: Daniel Faraday is a time traveler — or thinks he is a time traveler — and he's recovering memories of his past experience on the Island. Speaking of time travel:
The meaning of the title ''Eggtown'' I researched many options, include the significance to mythological ideas like the ''world egg'' and the ''cosmic egg.'' There could be a connection to the book Cracking the Cosmic Egg, too. But inspired by Locke's conspicuous mention of killing a chicken, I decided to investigate the Wikipedia write-up on the chicken and the egg. It has some interesting things to say about the theory of causality and ''the Grandfather Paradox,'' two important ideas in time-travel lore — and that's where we're headed next week.
Kate and Sawyer making out I think that was the last time. Don't you? How can she crawl back to him after he called her out like that?
The Lost Prediction League - Week 4
After a couple of weeks with no points being awarded, we finally have some new points to hand out. In Episode 4.04 - Eggtown we were given the answers to who Kate would kiss first (20 Pts) as well as the episode number that her first kiss would happen (30 pts).Congratulations to maskdmirag for still being in first place on 270 Points, followed by barbara_himmelreich, camille_schyns, and mohr all on 240 points.
There is just 1 person out of the 996 competitors who has to get a point.
The running total count questions are as follows and with Eggtown having no deaths, no Rose/Bernard and no Vincent, people who have picked high total predictions for these better start hoping that we get some more soon.
How many deaths will happen in Season 4? 3 so far (Elsa, Golf Man, Naomi)
How many episodes next year will contain flash forwards? 3 so far
How many episodes will be Jack Centric? 0 so far
How many episodes will be Ben Centric? 0 so far
How many episodes will both Rose and Bernard be in? 1 So far
How many episodes will we see Vincent? 2 So far
Check your standing by downloading the full spreadsheet HERE
Any mistakes or errors please leave a comment.
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