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Awesome.Here is a post apparently from one of the shows writers (not the two main ones - Daman Lindloff and Carlton Cuse though - one of the other ones that worked on the show with them).
Pretty interesting. It certainly answers some of the finale questions people are having, such as what was the Sideways etc?
** spoiler omitted **...
Well, the plot thickens ...
It looks like the person quoted is saying he or she was NOT a writer on the show at all, although was connected in some way. At this point, I don't really know what to make of this anymore:
<QUOTE>
No no, I'm not a writer on LOST, never written a single word for the show. I was about as signifigant as a stapler. The real people who deserve all the credit are Damon, Carlton, Eddie, Adam, Liz, the great staff, cast and crew. I worked in a lot of different capacities for the company and the show but never, ever, as a writer
and
<QUOTE>
Apparently it's gone out wider than I ever intended. And it's being misconstrued as being from the writers of the show (on other sites I guess). Which I'm not. I just wrote it up for our little community here and forgot that we're actually a part of a way bigger internet community. I don't want people reading it and assumming it's THE answer or from the mouths of the show. It's just my take on it. Didn't want people to get the wrong idea.
Did not mean to cause a firestorm at all ... my apologies.
Bella Sara Charter Superscriber
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I'm pretty sick of shows with big mysteries/twists (BSG, X-Files, Lost, Heroes, etc.) that ultimately fizzle because the writers (despite claims to the contrary) did not know what the end would be or changed their mind along the way.
Come to think of it, I'm having a hard time identifying a single television show that had a satisfying payoff to a major mystery. Are there any? Maybe it's just the wrong medium for the concept (or, maybe it's just so hard to do right).
That said, I have a lot of faith that OotS will have a satisfying resolution. I was reading through Don't Split the Party last night, and feel like even if Rich doesn't have 100% of the details nailed down, he's very, very good at nailing them down as he goes along. I've been pretty damn happy with each mystery he's set up and answered, and, at the same time, amazed and impressed at his ability to set up minor elements early in the run and have those pay off as well.
They should give him control of a show. That would kick ass.
(Well, other than the fact that it's have a pretty irregular run)
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I'm pretty sick of shows with big mysteries/twists (BSG, X-Files, Lost, Heroes, etc.) that ultimately fizzle because the writers (despite claims to the contrary) did not know what the end would be or changed their mind along the way.
Come to think of it, I'm having a hard time identifying a single television show that had a satisfying payoff to a major mystery. Are there any? Maybe it's just the wrong medium for the concept (or, maybe it's just so hard to do right).
I agree that it's hard to do right, but I would think the law of averages would indicate that someone would pay off a mystery satisfactorily at some point. Off the top of my head, I thought the first season of Veronica Mars resolved its overarching mysteries nicely.
Purgatory, limbo, what have you... that premise throughout would have made every plot point interlock quite gracefully, without confusion or debate.
Perhaps true, but I think the show is more rewarding if you don't have one overarching reason for all the various mysteries. Regardless of whether the creators had to switch gears because people figured it out too quickly, I'm glad it's not a purgatory or a dream or what have you. The challenge of creating various reasons behind all these strange happenings makes it far more interesting. I think they only partially succeeded with this challenge as they didn't really answer all the major mysteries.
What shows might I use to fill the now vacant Lost slot? Any recommendations for high quality spec fic TV programs I may have missed? Shows now off the air still count. I can just pick up the box set or watch some of them on Netflix.
I don't know if you've watched it before, but I've decided to watch David Lynch's Twin Peaks, another apparent "mystery" kind of show. I recently watched Mulholland Dr., directed by Lynch, and loved it. Plus, Damon Lindelof has said many times that Twin Peaks was one of his early inspirations. Should be interesting.
I liked the ending. I LOVED the show.
I find myself wondering what is left on TV that is worth watching. NBC is cancelling Heroes (the last season was not that great), and Survivor (the only reality show I like) wont be back on the air for several months.
Sure, there are a couple of 1/2 hour sitcoms that are funny, but nothing as engaging as Lost.
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Bella Sara Charter Superscriber
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I agree that it's hard to do right, but I would think the law of averages would indicate that someone would pay off a mystery satisfactorily at some point. Off the top of my head, I thought the first season of Veronica Mars resolved its overarching mysteries nicely.I'm pretty sick of shows with big mysteries/twists (BSG, X-Files, Lost, Heroes, etc.) that ultimately fizzle because the writers (despite claims to the contrary) did not know what the end would be or changed their mind along the way.
Come to think of it, I'm having a hard time identifying a single television show that had a satisfying payoff to a major mystery. Are there any? Maybe it's just the wrong medium for the concept (or, maybe it's just so hard to do right).
Now that you mention it, I've heard the same about the first season of Desparate Housewives.
Hmmm...come to think of it, maybe those shows do better because they have a more generic drama structure to fall back on. My other complaint about serial meta-plot driven shows is that they paint themselves into a corner in regards to how much meta-plot they dole out at a time. Most of them (and Lost is a particularly bad offender in this regard) limit the amount of meta-plot info they provide, but don't really have anything else to do other than spin out the meta-plot.
Strangely enough, I liked the way Wolverine and the X-men played out. It had a big meta-plot throughout the season, which was the focus of most of the episodes, but it also had stand alone episodes, episodes focused on particular characters (some of which ended up being 2-3 episode arcs about the characters), and it had enough sub-bosses/achievements of minor goals that it generally felt like it was moving forward and not spinning its wheels.
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Bella Sara Charter Superscriber
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Lost lost me (if you will) when they introduced the Tailies. I was very interested to see what would happen to these new characters, and, as far as I can tell, nothing did ever happen with them. They were brought on and then immediately killed off. At that point, I lost faith that the writers knew what they were doing (or, were doing such a sloppy job that I wasn't willing to stick it out).
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Now that you mention it, I've heard the same about the first season of Desparate Housewives.
Hmmm...come to think of it, maybe those shows do better because they have a more generic drama structure to fall back on. My other complaint about serial meta-plot driven shows is that they paint themselves into a corner in regards to how much meta-plot they dole out at a time. Most of them (and Lost is a particularly bad offender in this regard) limit the amount of meta-plot info they provide, but don't really have anything else to do other than spin out the meta-plot.
Strangely enough, I liked the way Wolverine and the X-men played out. It had a big meta-plot throughout the season, which was the focus of most of the episodes, but it also had stand alone episodes, episodes focused on particular characters (some of which ended up being 2-3 episode arcs about the characters), and it had enough sub-bosses/achievements of minor goals that it generally felt like it was moving forward and not spinning its wheels.
Actually, one thing I'm noticing is that the examples you and I have both given are single seasons only. These might wind up being successful in part because they're more likely to have been plotted out all at once, then written by the same set of writers. Less people dropping out over the course of the season, and less mucking about with the original plan.
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Bella Sara Charter Superscriber
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Actually, one thing I'm noticing is that the examples you and I have both given are single seasons only. These might wind up being successful in part because they're more likely to have been plotted out all at once, then written by the same set of writers. Less people dropping out over the course of the season, and less mucking about with the original plan.
Yeah, I had a paragraph in my original post about how I think it works best with single season arcs. But, then I remembered 24, and realized it can still be screwed up pretty badly.
I really wish the original model for Heroes had been implemented (where there would've been mostly new characters each season) - I think season-arcs probably work best if you have a rotating roster of characters. The one flaw of season-based arcs is that you suffer from sequel-itis problems (we defeated the bad guy, but a whole new bad guy has come out of nowhere and eliminated our original success, thus making the first season less meaningful).
They were brought on and then immediately killed off. At that point, I lost faith that the writers knew what they were doing (or, were doing such a sloppy job that I wasn't willing to stick it out).
In their defense, there were reasons they killed off those characters. Libby and Anna-Lucia were caught drunk driving and the writers didn't really tolerate that kind of behavior, or so the story goes. The guy playing Mr. Eko didn't want to be on the show anymore, so they had to get rid of him quickly. I think there has also been a lot of audience feedback, as far as character likability and so on, that affected the writers' decisions.
I think "serial mystery" works a lot better with the written word or with comics, where external realities like actors and such don't come into play. A novel writer has more time to edit his or her work and make necessary changes, without the hassles of unexpected circumstances.
Just food for thought.
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Bella Sara Charter Superscriber
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They were brought on and then immediately killed off. At that point, I lost faith that the writers knew what they were doing (or, were doing such a sloppy job that I wasn't willing to stick it out).In their defense, there were reasons they killed off those characters. Libby and Anna-Lucia were caught drunk driving and the writers didn't really tolerate that kind of behavior, or so the story goes. The guy playing Mr. Eko didn't want to be on the show anymore, so they had to get rid of him quickly. I think there has also been a lot of audience feedback as far as character likability and so on that affected the writers' decisions.
I think "serial mystery" works a lot better with the written word or with comics, where external realities like actors and such don't come into play. A novel writer has more time to edit his or her work and make necessary changes, without the hassles of unexpected circumstances.
Just food for thought.
Yeah, I heard that about Michael as well, but found it an unsatisfactory answer. I'm of the school that thinks actors should be fungible - it's a lot easier for me to accept a new actor (without explanation for the change if possible) than to accept having the plot derailed because the original actor is a douche.
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I always felt like the actual reason they dumped Ana Lucia was that the fans responded negatively to her (just like with Nikki and Paulo), and that they never really had anything for Libby to do. She was better as a source of grief for Hurley after her death then she would have been as a living girlfriend for him. But either way, I agree that they seemed to change directions based on external pressure and/or sloppy planning in both cases.
The same thing happened with Michael and Walt, since the first few seasons took place over the span of a few months, and they had to get rid of Walt since he was growing rapidly at that time. As a result, the whole reason that the Others first made contact with the Losties wound up getting thrown out the window.
What shows might I use to fill the now vacant Lost slot? Any recommendations for high quality spec fic TV programs I may have missed? Shows now off the air still count. I can just pick up the box set or watch some of them on Netflix.I don't know if you've watched it before, but I've decided to watch David Lynch's Twin Peaks, another apparent "mystery" kind of show. I recently watched Mulholland Dr., directed by Lynch, and loved it. Plus, Damon Lindelof has said many times that Twin Peaks was one of his early inspirations. Should be interesting.
Thanks, WC.
Lynch is hit or miss for me. I like experimental film and I have a lot to say about his earlier work, but Mulholland Dr.. Firewalk with Me, and Lost Highway didn't do it for me upon first watch. Perhaps years away would let me better comprehend what he was going for because I watched Eraserhead a month ago and understood, I believe, exactly what eraserhead actually meant. That our tingly head below erases our brain head's good sense, and the film shows a particularly bleak consequence of incautious sex. When I saw that at age 13 I just stared forth WTFing... nary a clue.
I'll revisit the Lynch films.
Like Sebastian, I've been straining to think of a spec fic TV show that actually came through with solid and satisfying answers by its finale. Accepting that we can't have all the answers is always fine by me... vagueness is the heart of the mystic feel. Things feel bigger and more divine when we only have a fleeting sense of them. When many people pan certain French films for having utterly ambiguous endings I find I can deal just fine. My only gripe with some French films is that it seems one fifth of them seem to drivel on during the first few lines with a main character's voiceover facilely lecturing to us about the importance of dreams.
That said, it seems most spec fic TV show dole out heaping helpings of non-clarification at their last suppers. Personally, after watching 100 shows of something, far greater than a filmic two hour commitment to be sure, I don't want experimental artistic liberation. I want simple plot closure. The writer in me can appreciate the meaningful and clever Sopranos series closer. The fan in me wants to brick fight everyone involved. Why do I have writers and fans inside me? Cannibalism. There... I was kind enough to wrap the story up cleanly. ;)
I always felt like the actual reason they dumped Ana Lucia was that the fans responded negatively to her (just like with Nikki and Paulo), and that they never really had anything for Libby to do. She was better as a source of grief for Hurley after her death then she would have been as a living girlfriend for him. But either way, I agree that they seemed to change directions based on external pressure and/or sloppy planning in both cases.
Interesting. Didn't know about the fan angle.
I wondered if those ladies left because they were both involved in that Hawaiian DUI, but you're right, Libby did allow Hurley to feel loss, and that was definitely a compelling chapter.
Thanks, WC.
Please, call me Whimsy or Chris. WC reminds me of a public bathroom in France. Not a good thing. ;)
I'll revisit the Lynch films.
On the other hand, there is also classic literature to fill the hours. I've been reading Faulkner the last couple days; it's a nice change of pace from the insanities of Lost.
RPG Superstar 2009 Top 32, 2010 Top 8
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I'm pretty sick of shows with big mysteries/twists (BSG, X-Files, Lost, Heroes, etc.) that ultimately fizzle because the writers (despite claims to the contrary) did not know what the end would be or changed their mind along the way.
Come to think of it, I'm having a hard time identifying a single television show that had a satisfying payoff to a major mystery. Are there any? Maybe it's just the wrong medium for the concept (or, maybe it's just so hard to do right).
If Charmed ended a season earlier (Yeah yeah, dump on me for watching it) I think it would have been a good show ending payoff. You had references to all that had gone before, from Pru's astral form to the Hollow, to glamours to the book. Then they fake their own deaths, grab Leo, and just go away. We (the viewers) know they live, Darryl strongly suspects/knows, and The End.
*sighs* I know it's not a mystery, but it would have been a good ending.
Thanks, WC.Please, call me Whimsy or Chris. WC reminds me of a public bathroom in France. Not a good thing. ;)
I'll revisit the Lynch films.On the other hand, there is also classic literature to fill the hours. I've been reading Faulkner the last couple days; it's a nice change of pace from the insanities of Lost.
Wow, Chris. Reading? Books? Are you serious? ;)
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RPG Superstar 2009 Top 32, 2010 Top 8
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Okay... speaking for me, moving on.
What shows might I use to fill the now vacant Lost slot? Any recommendations for high quality spec fic TV programs I may have missed? Shows now off the air still count. I can just pick up the box set or watch some of them on Netflix.
I just picked up Primeval on DVD, Want to watch it again (with Eurominutes) before the new series hits the air.
Come to think of it, I'm having a hard time identifying a single television show that had a satisfying payoff to a major mystery. Are there any? Maybe it's just the wrong medium for the concept (or, maybe it's just so hard to do right).
If you were in the UK, it would actually have been easy to miss any discussion of LOST's resolution this week becuase we've just had our own five-year 'mystery' show come to an end: ASHES TO ASHES, the sequel series to the two-season LIFE ON MARS, ended after three seasons and satisfactorily wrapped up almost all of the outstanding mysteries and unanswered questions from the series in an elegant, concise and well-acted manner. It was excellent, and made LOST's finale look slightly ridiculous in comparison (and wiped the floor with the American LIFE ON MARS, the conclusion to which was just insane).
The other obvious example is BABYLON 5, where the several major mysteries established in the pilot were resolved by the end of Season 2, and other mysteries raised during the first season were mostly resolved by the end of Season 3 or early in Season 4. B5 is really the template for how you handle mystery-based, serialised shows and the repeated failures of shows to deliver good endings can almost always be pinned on lessons not learned from B5.
AVATAR: THE LAST AIRBENDER also had an excellent resolution to its three-season storyline. ANGEL ended pretty well after five seasons, although it didn't have much in the way of a central mystery. THE WIRE and ROME both ended brilliantly, but again with not much in the way of long-standing mysteries.
GAME OF THRONES, the HBO fantasy series starting next year, has several strong mystery elements to it, although the main storylines are more straightforward. Otherwise, as far as new shows go, there's not much out there on the horizon. The British supernatural drama BEING HUMAN needs to go into very dark and mysterious territory in the third season, which could be interesting. DOCTOR WHO has its season-by-season arc plots, but these are generally resolved in the season finale and then a new mystery introduced next season, so that may not be quite the same thing.
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RPG Superstar 2009 Top 32, 2010 Top 8
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Oooh! I just thought of one. It may not be a series ender, but the Cademus arc of Justice League Unlimited. Pleanty of set up, Lex at his finest, and then the twist and reveal, pulling elements from the Superman TAS to reveal the actual motivations and the plan. Definate pay off for the deidcated fan.
Come to think of it, I'm having a hard time identifying a single television show that had a satisfying payoff to a major mystery. Are there any? Maybe it's just the wrong medium for the concept (or, maybe it's just so hard to do right).If you were in the UK, it would actually have been easy to miss any discussion of LOST's resolution this week becuase we've just had our own five-year 'mystery' show come to an end: ASHES TO ASHES, the sequel series to the two-season LIFE ON MARS, ended after three seasons and satisfactorily wrapped up almost all of the outstanding mysteries and unanswered questions from the series in an elegant, concise and well-acted manner. It was excellent, and made LOST's finale look slightly ridiculous in comparison (and wiped the floor with the American LIFE ON MARS, the conclusion to which was just insane).
The other obvious example is BABYLON 5, where the several major mysteries established in the pilot were resolved by the end of Season 2, and other mysteries raised during the first season were mostly resolved by the end of Season 3 or early in Season 4. B5 is really the template for how you handle mystery-based, serialised shows and the repeated failures of shows to deliver good endings can almost always be pinned on lessons not learned from B5.
AVATAR: THE LAST AIRBENDER also had an excellent resolution to its three-season storyline. ANGEL ended pretty well after five seasons, although it didn't have much in the way of a central mystery. THE WIRE and ROME both ended brilliantly, but again with not much in the way of long-standing mysteries.
GAME OF THRONES, the HBO fantasy series starting next year, has several strong mystery elements to it, although the main storylines are more straightforward. Otherwise, as far as new shows go, there's not much out there on the horizon. The British supernatural drama BEING HUMAN needs to go into very dark and mysterious territory in the third season, which could be interesting. DOCTOR WHO has its season-by-season arc plots,...
Life on Mars did come to mind after I last posted.
I never heard anyone say they liked the DS9 finale, but I found it touching and fair. That show's big mystery was the identity and purpose of the wormhole aliens, and while it didn't answer the question it did show divine ascension and how exposure to these beings affected the lives of everyone in their proximity.
Voyager made me pluck out my eyeballs with a melon baller so I'd never have to witness anything so disappointing again.
Babylon 5 was not my thing, but I'll check out Ashes to Ashes. Thanks for the recommendation.
I just picked up Primeval on DVD, Want to watch it again (with Eurominutes) before the new series hits the air.Okay... speaking for me, moving on.
What shows might I use to fill the now vacant Lost slot? Any recommendations for high quality spec fic TV programs I may have missed? Shows now off the air still count. I can just pick up the box set or watch some of them on Netflix.
Hrm... don't recall hearing about that show offhand. Thanks, Matt! :)
Contributor, RPG Superstar 2008 Top 6
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Oooh! I just thought of one. It may not be a series ender, but the Cademus arc of Justice League Unlimited. Pleanty of set up, Lex at his finest, and then the twist and reveal, pulling elements from the Superman TAS to reveal the actual motivations and the plan. Definate pay off for the deidcated fan.
Yes! And since it was ended to be a series ender, good enough. The last season was just a bonus.
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I really liked the DS9 ending actually.
I really liked Life on Mars but was pretty disappointed with the ending as well. I'm not sure if that's how they would have ended it had the show not been canceled at the end of only one shortened season though. I kind of got the impression that they did the best they could given the time they had left. How did the original British version finally end?
Getting back to Lost, the more I mull over the finale, the more I tend to like it, although I certainly agree that a number of pretty big mysteries were ignored.
My take is this - the entire series as a whole was fantastic and I'm thrilled to have been a part of it (meaning, watched from the very beginning). The acting was great, the writing was great, the concept was groundbreaking even if some plots seemed to be dropped as things went on. The finale was pretty darned good, but it could have been great. I would have LOVED for the finale to have been great, but I think I can live happily enough with darned good. Make sense?
I think the problem was that the writers viewed the series primarily as a character show, with the Island and its' mysteries and mythology serving as a really interesting backdrop. Many viewers agreed. Unfortunately, many other viewers were every bit as intrigued by the Island's mysteries as they were with the characters which meant that those viewers became increasingly dissatisfied as the series came closer and closer to an end.
I also plan to watch the series again on DVD from the beginning to see how well it holds up now that the end has been revealed. My honest suspicion is that it WILL hold up and I'm betting (hoping?) that I might even have a better appreciation for the show once taken as a complete, finished work.
In fact, I'm really interested to get the final season DVD set when it comes out later this summer. I'll bet the writer's commentary for the last few episodes, the finale in particular, will be pretty enlightening ...
Oh, and hearing that the shots of the plane wreckage during the end credits was done by ABC after the fact and that the writers intended for the final shot to be Jack's eye closing did make me feel better :)
I really liked Life on Mars but was pretty disappointed with the ending as well. I'm not sure if that's how they would have ended it had the show not been canceled at the end of only one shortened season though. I kind of got the impression that they did the best they could given the time they had left. How did the original British version finally end?
The difference with LOST is that MARS and ASHES both laid clues to this ending down from the very first episode, and in fact the ending explains some elements that were left dangling from the very first couple of episodes of MARS.
I always felt like the actual reason they dumped Ana Lucia was that the fans responded negatively to her (just like with Nikki and Paulo), and that they never really had anything for Libby to do. She was better as a source of grief for Hurley after her death then she would have been as a living girlfriend for him. But either way, I agree that they seemed to change directions based on external pressure and/or sloppy planning in both cases.
The same thing happened with Michael and Walt, since the first few seasons took place over the span of a few months, and they had to get rid of Walt since he was growing rapidly at that time. As a result, the whole reason that the Others first made contact with the Losties wound up getting thrown out the window.
Stuff like that happens. I suspect Juliet was killed because she was cast as a lead in "V", and filming Lost in Hawaii presented a scheduling conflict.
I think I'm the only person I know who thought the crash shots at the credits were simply show-off frames of an awesomely well-done airplane crash--I didn't think they had anything to do with the end.
You're not alone. My brother and I watched it and both took it to be a "remember how it all started?" kind of thing, with no hidden meaning at all.
You're not alone. My brother and I watched it and both took it to be a "remember how it all started?" kind of thing, with no hidden meaning at all.I think I'm the only person I know who thought the crash shots at the credits were simply show-off frames of an awesomely well-done airplane crash--I didn't think they had anything to do with the end.
I thought the plane wreckage at the end was showing that what happened on the island was real. The wreckage showed that their plane did crash there; it didn't make it to LA and it didn't go down over open water. And the lack of bodies showed that there were survivors, proving that everyone didn't die in the crash.
<beats head against wall>Must not think bad thoughts about the writers of Lost despite it being all about string theory - meaning every decision by the Passengers was the wrong one and every conclusion a false positive.</headache>
You know, YD, Strings actually harmonize the universe, unifying relativity with quantum mechanics.
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<beats head against wall>Must not think bad thoughts about the writers of Lost despite it being all about string theory - meaning every decision by the Passengers was the wrong one and every conclusion a false positive.</headache>You know, YD, Strings actually harmonize the universe, unifying relativity with quantum mechanics.
- A String is a Logic Entanglement...separating one possibility from an alternate.
Thats why a String is the thin line separating A from NOT A...At superposition that logic defines the maths of the Universe - the only reason the Sun hasnt fallen out of the sky and rolled across the floor is we are doing our darndest to prop up a limited rules based universe.
Thats why they were desperate to prevent the Smoke Monster from leaving the Island - he would have been able to achieve Superposition to an event. Thats why they were wrong in opposing him.
...Thats why they were desperate to prevent the Smoke Monster from leaving the Island - he would have been able to achieve Superposition to an event...
That part's actually very interesting...
Has anyone else seen this alternate ending? It actually makes a lot more sense.
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Has anyone else seen this alternate ending? It actually makes a lot more sense.
That would have been so frikin awesome! I would have stood up and clapped.
Has anyone else seen this alternate ending? It actually makes a lot more sense.
Pres man, I can't see youtube at work. Could you please summarize for us? Was it presented on the Jimmy Kimmel after the finale? We still have that recorded to watch but haven't had the opportunity yet...
Thanks!
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Has anyone else seen this alternate ending? It actually makes a lot more sense.Pres man, I can't see youtube at work. Could you please summarize for us? Was it presented on the Jimmy Kimmel after the finale? We still have that recorded to watch but haven't had the opportunity yet...
Thanks!
** spoiler omitted **Has anyone else seen this alternate ending? It actually makes a lot more sense.Pres man, I can't see youtube at work. Could you please summarize for us? Was it presented on the Jimmy Kimmel after the finale? We still have that recorded to watch but haven't had the opportunity yet...
Thanks!
Otherwise known as the St. Elsewhere ending. Their finale did the same thing, only the dreamer was the autistic son of one of the doctors at the hospital. Only in real life... it turns out the man is a blue collar man who works construction and they live in a small city apartment. The hospital where he worked was actually just a small plastic hospital in the boy's snow globe. He dreamt his father was a doctor. He dreamt the rest of the cast.
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Otherwise known as the St. Elsewhere ending. Their finale did the same thing, only the dreamer was the autistic son of one of the doctors at the hospital. Only in real life... it turns out the man is a blue collar man who works construction and they live in a small city apartment. The hospital where he worked was actually just a small plastic hospital in the boy's snow globe. He dreamt his father was a doctor. He dreamt the rest of the cast.
Through various crossovers and references, people have tied something like 280 shows into the St. Elsewhere-verse, meaning that all of those shows would have likewise taken place inside Tommy's head. Here is a grid laying out the connections along with a breakdown. Interestingly, Lost is one of the shows on this grid.
Otherwise known as the St. Elsewhere ending. Their finale did the same thing, only the dreamer was the autistic son of one of the doctors at the hospital. Only in real life... it turns out the man is a blue collar man who works construction and they live in a small city apartment. The hospital where he worked was actually just a small plastic hospital in the boy's snow globe. He dreamt his father was a doctor. He dreamt the rest of the cast.Through various crossovers and references, people have tied something like 280 shows into the St. Elsewhere-verse, meaning that all of those shows would have likewise taken place inside Tommy's head. Here is a grid laying out the connections along with a breakdown. Interestingly, Lost is one of the shows on this grid.
I had no idea this project existed! Wow... people word hard on that. Thanks for the links.
I had no idea this project existed! Wow... people word hard on that. Thanks for the links.Otherwise known as the St. Elsewhere ending. Their finale did the same thing, only the dreamer was the autistic son of one of the doctors at the hospital. Only in real life... it turns out the man is a blue collar man who works construction and they live in a small city apartment. The hospital where he worked was actually just a small plastic hospital in the boy's snow globe. He dreamt his father was a doctor. He dreamt the rest of the cast.Through various crossovers and references, people have tied something like 280 shows into the St. Elsewhere-verse, meaning that all of those shows would have likewise taken place inside Tommy's head. Here is a grid laying out the connections along with a breakdown. Interestingly, Lost is one of the shows on this grid.
Now my question is, where is Kevin Bacon in this chart?
It's all 19, brother...it's all 19...
What shows might I use to fill the now vacant Lost slot? Any recommendations for high quality spec fic TV programs I may have missed? Shows now off the air still count. I can just pick up the box set or watch some of them on Netflix.
FRINGE, i like it.
And the TWIN PEAKS suggestion was a good one too. Thats one of my favorite shows ever, however if you've already seen Fire Walk With Me the core mystery of the first half of the series may be less interesting--still, give it a shot, its worth it just for some of the lines Dale Cooper has, he's one of the best FBI agents on TV ever.
That's an amazing list of crossovers. Though the conclusion that it makes all of the shows 'figments' of the autistic boys dreams assumes that absolutely nothing in the dream was a reflection of a 'real' place or product.