"LOST - THE PILOT, Past Is Prologue."
‘Where is it that we were together? Who were you that I lived with? The brother. The friend. Darkness, light. Strife and love. Are they the workings of one mind? The features of the same face? Oh, my soul. Let me be in you now. Look out through my eyes. Look out at the things you made. All things shining.’ – ‘The Thin Red Line’ by Terence Malick
Where does one choice end and the next one begin? Do we grow with each one we make? Are we the sum total of these choices? Do we have free will or does our past dictate our future? Does every choice we make lead us to one eternal instant?
We open on an eye— this will become a recurring motif of the show. With each new eye comes a new point of view, a new story, and a new series of choices. This particular eye belongs to Dr. Jack Shephard. And when we first meet him in the brilliantly staged opening scene, Jack is presented as the hero.. the White Knight there to lead his fellow Losties.*
But we know from watching the full run of the show that appearances can be deceiving. More than any other character, Jack is broken. He is a Man of Science who refuses to believe in any form of magic or miracle in the world. He is struggling with the loss of a father, whose relationship he never reconciled before his untimely death. He is stubborn and head-strong. And the defining quality that makes him a great leader, that allows him to care so deeply for others, is also his greatest flaw.
Jack cannot let go.
In that regard he is like the rest of our Losties. Before coming to The Island they were all broken and unable to let go of past trauma. As Shakespeare writes in The Tempest (HEY! THAT’S A DHARMA STATION!), ‘Past is prologue.’
If past is prologue and dictates all of our choices, how do we learn to let go? Even if one cannot change the past, how do we get to a place to accept it while still acknowledging that the future is open and full of possibility; that we are capable of change (and, in essence, this idea is what Season Five, the time travel season, was all about).
Or as Jack tells Locke in the After-Life (subconsciously recalling a memory of his real life and echoing a sentiment Kate told him in his last hours of life):
‘Nothing is irreversible.’
This is the true story of LOST. Beyond the dense mythology, beyond the science-fiction, beyond everything else, it is that simple sentiment. And how do our Losties learn to let go? They fix one another. They find redemption through the shared community they create on The Island after 815 crashes.
‘Nobody does it alone,’ as Christian tells Jack in The End.
I. Nobody Does It Alone or No Man Is An Island: How To Watch LOST In Another Life, Brotha
There is one certainty I knew going into this retrospective: some storylines and mythology were going to feel arbitrary and extraneous to the plot. If you read the article I posted regarding the origins of LOST by Alan Sepinwall, you now understand the capricious nature of creating such a show. While I’d still argue that much of the mythology holds up (and that it will be easier to digest a second time around), the more emotionally rewarding experience in revisiting LOST comes from observing these characters again from the beginning.
Look, I am not arguing that the characters of LOST have the intellectual or analytical depth of a Don Draper or a Walter White. But Mad Men and Breaking Bad are very different shows than LOST and the writers of all three are, respectively, trying to accomplish different things. What the LOST writers always understood is how much the emotional journey of its characters mattered… beyond anything else.
That holds true in all forms of storytelling, but especially so in television. Every week, you turn on your TV. You invite these characters not only into your hearts and minds, but into your homes. And they come back and visit, week after week, for six years. It’s not the same as leaving your house for two hours and going to see a movie. There is a very personal relationship that people have with television characters that is unparalleled. And as I argued in my first entry, LOST demanded this kind of personal relationship.
So what am I looking for this time around? I’m looking to discover when we’re first introduced to a character’s past trauma. I’m paying attention to how The Island gives them an opportunity to move past this trauma and let go. Most importantly, I’m looking for those moments of our characters reaching out to help one another.
And it’s not monumental, huge moments all the time. It’s little things. I cannot help but smile whenever I watch one particular scene from The Pilot. A pregnant Claire is worried as her baby (soon to be named Aaron) has not kicked since the plane crash. She is sitting alone on the beach when Jin (who at this point cannot speak English) approaches her, offering food. Jin has been fishing (an early foreshadowing of his humble, fishing background) to provide food for the survivors. He first offers a tray of his fresh catch to Hurley who humorously turns him down. But then he approaches Claire.
Claire is hesitant at first, but at Jin’s insistence she eats a piece. Jin waits for her reaction when suddenly Claire stands up at attention. Aaron just kicked.
Claire is ecstatic, ‘There! Right there, that’s a kick! There, right there’s a foot!’
She grabs Jin’s hand to feel the baby kick, much to his reluctance. But then she forces his hand onto her belly. And Jin feels it. He exclaims something in Korean and you can tell he’s happy about feeling Aaron kick. These two people do not know each other and don’t even speak the same language, but they share in this beautiful moment of feeling a new life. This moment takes on even more importance as we later find out that Jin was sterile before coming to The Island. Him and Sun could not have children before The Island fixed him.
No man is an island and nobody does it alone.
II. ‘You Can Let Go Now.’
There was a lot of confusion immediately following the LOST finale because ABC made an incredibly stupid decision to show behind the scenes footage of The Pilot featuring an empty beach and the wreckage of 815. Some fans were extremely perplexed. The series had just ended with these characters moving on from the After-Life, and now they were being presented eerie images of an empty beach. What gives? Did this mean The Island wasn’t real and the characters were dead the whole time?
Of course not.
And the writers attempted to ensure us that this wasn’t the case through the scene where Jack finally catches his White Rabbit (more on that in a few episodes).. when he sees his father again. Christian assures Jack that both of them are real, that everything that ever happened to them was real, and that all of the people Jack met on The Island were real too. Some of them had died before him (like Boone, Shannon, and Charlie) and some of them died long after him (like Kate, Sawyer, and Claire). But it was all real and it all mattered.
It was almost like the writers were speaking directly to the audience through Christian. This is echoed in another scene in The End in which Jack and Desmond debate whether or not stopping The Man In Black matters. Desmond tells Jack that he saw a world where there was no island, where they all are happy, and that the best part is, Jack is in this world too.. and that he seemed at peace.
Jack confides in Desmond, ‘There are no shortcuts, no do-overs. What happened, happened. Trust me, I know. All of this matters.’
It took Jack six seasons to realize this and his journey begins from the time he opens his eye in The Pilot.
The Island did matter. It was a place of miracle that allowed our Losties to fix one another. It offered them a clean slate to start over and to let go of their past trauma. That has been clear since the start of the series. Hell, the third episode is titled, Tabula Rasa—Latin for ‘clean slate.’
Then what was the Flash-Sideways? What was this After-Life? Did it even matter?
I would argue, yes, it mattered a whole lot. These characters were only able to let go through one other. And they were so connected through their shared experience on The Island that they willed into existence a separate reality (HEY! A SEPARATE REALITY IS A BOOK THAT YOUNG BEN OFFERS TO SAYID IN SEASON FIVE!) so they could find one another after death to make sure they would not have to die alone. To me, that has always been a fascinating and beautiful idea. It is my hope that with this retrospective I can share some insight in how the final season Flash-Sideways/After-Life scenes connect to everything from The Pilot on.
The Flash-Sideways/After-Life was a place of introspection for these characters, a realm to reflect back on the choices they made on The Island and to remember how they had let go. It is no coincidence that Season Six features the recurring motif of the Losties looking into a mirrors. They are looking upon reflections of themselves, trying to remember. And once they remember, they can finally move on.
And they remember, just as they learned to let go, through one another. I get water works whenever I watch scenes of the characters waking up—especially Sawyer and Juliet.
But I will get to both of those characters later as well. I want to analyze two scenes specifically in this section of this entry: The Jack/Rose scene aboard 815 during The Pilot and its mirrored scene of them on 815 during the Season Six premiere, LAX.** The two scenes are below. Please watch them and then return.
Jack and Rose, The Pilot
Jack and Rose, LA X
As I wrote above, Jack is broken at the time of The Pilot, but by the end of the series Jack has completed part of his emotional arc. He fully embraces his role as the new Protector of The Island. He acknowledges that The Island brought them there for a reason and fulfills his journey from Man of Science to Man of Faith.
He finally begins to let go.
But he is still Jack. And even after everything he has learned on The Island and through the family he found there, he still has trouble reconciling this in the After-Life (again, I will get into more detail about this in my write-up of White Rabbit, but it has a lot to do with him never coming to terms with his father’s death before he died… there’s a reason he had a son in the After-Life, you know). And who is the first person we see him meet in our first glimpse of the After-Life?
And that’s what’s beautiful about comparing these two scenes. Both are nearly identical to one another. The stewardess, Cindy, offers Jack some extra booze (although, as a nice little touch, she only gives him one bottle in the After-Life as he won’t need the second one to sterilize the wound he would get from crashing on The Island), Jack and Rose meet and speak about the bumpy flight, and then heavy turbulence hits.
But there is something very interesting to note when comparing the scenes side by side (aside from the discrepancy in the number of liquor bottles Jack receives, of course). In The Pilot, Jack is the one playing the hero, trying to calm Rose down while her husband, Bernard, is away at the bathroom. He assures her that everything is going to be okay and keeps looking over to her before he blacks out to make sure she is safe.
However, in LA X… something has changed. First of all, Jack seems a little more at ease and a little more at peace. He looks around as if thinking, ‘Have I been here before?’ After the stewardess informs all passengers to return to their seats and fasten their seatbelts, it is Rose, a very knowing Rose, who initiates the conversation, assuring Jack, ‘it’s normal.’ She is the one who attempts to help him through the moment.
The turbulence passes, and Jack seems to be WAITING for something to happen (after all, his defining life moment was, ‘We have to go back!’ and he seems to be waiting to return to The Island). He clenches tight to the arms of his seat, hands white-knuckled. And then he hears Rose’s voice:
‘It’s okay. You.. you can let go now.’
Jack physically lets go of the arms of the seat, sighs, and looks around.
‘Looks like we made it,’ Jack says.
‘Yeah. We sure did,’ Rose replies, smiling.
To which all of you reply, ‘Yeah… so what?’
Well, aside from the two scenes thematically fitting into what I’ve been rambling on about for what must be 108 pages by now, I have a theory (stop groaning, it’s a good one and makes a lot of sense) that I want to share with all of you now.
Rose and Bernard were awake the entire time of the Flash-Sideways/After-Life reality (and not only that, Boone was as well… I’ll get to that later). How is this possible? How come they were awake when many of the characters weren’t? My argument would be that they fully took advantage of what The Island offered. They died having fully let go and with no regret.
With Rose and Bernard specifically, there’s a particular scene in the Season Five finale, The Incident, featuring them that may actually be the most important in all of LOST. It is DHARMA times in 1977. They have been living in seclusion with Vincent when Kate, Sawyer, and Juliet discover them. Kate warns them that Jack has a bomb and that they have to stop them. The older couple interrupts her.
‘Sorry, but we’re retired,’ Rose exclaims.
Kate, Sawyer, and Juliet don’t understand. If Jack succeeds, then they all could die.
Bernard shrugs this off, ‘So we die. We just care about being together. It’s all that matters in THE END.’ (HEY, THAT’S THE TITLE OF THE SERIES FINALE!).
If that is not enlightenment, then I don’t know what is. It’s what makes Rose and Bernard special among the Losties and why their story was so important from the moment we saw Rose kissing Bernard’s ring on the beach in The Pilot.
III. Jack and Hurley, Island Protectors From The Start
We know from watching the final season that Jacob selected specific people among the survivors of 815 (and many who had come before them) as Candidates to replace him in protecting The Island in the event The Man In Black found a loophole to kill him (a past event and choice that haunts him as he is directly responsible for creating The Monster). By the penultimate episode, What They Died For, Jack, Hurley, and Sawyer are all that remain (Kate is still alive, but Jacob removed her name once she took on the role of being a mother to Aaron). Jack steps up to volunteer, acknowledging this is why he was brought to The Island. If they do not stop The Monster, The Island will be destroyed, every person they ever cared about will die, and all the deaths on The Island (from Boone to Shannon to Charlie to Libby to Ana-Lucia to Eko to Michael to Faraday to Juliet to Locke to Sun to Jin and to Sayid), will be in vain.
Jack sacrifices himself to save The Island, his friends, and the world. He fulfills his destiny. But The Island still needs a protector and, in possibly the most emotionally rewarding scene of The End, he cedes the role of Island Protector to Hurley.
And it all just seems…. right.
“You’re not supposed to die! The Island needs you,” Hugo cries.
“No, it needs you… It needs to be you, Hugo,” responds Jack.
Jack Makes Hurley The New Island Protector, The End:
The notion of Hurley (lovable, goofy Hurley) becoming protector of the most powerful place on Earth may have been inconceivable early in the series. However he may have been marred by bad luck before coming to The Island (he played The Numbers which led him to believe he was cursed), over the course of his time on The Island, he realizes that one makes their own luck (another spin on the idea that one’s past does not define who one is and that one shape’s a new destiny with each new choice).
He asserts himself into a leadership role on The Island. When Locke and Jack split the camps up upon the arrival of the freighter, he convinces many to go with Locke (which puts a rift between him and Jack after they leave The Island) due to Charlie’s dying warning that the people on the boat are not who they say they are.
We also came to discover that Hurley (like Walt, Locke, and The Man In Black before him) is ‘special.’ And due to his special connection to The Island, he is able to communicate with the dead. This allows him to take on a greater leadership role in the final season, to the point where Jack is following his lead for a couple of episodes.
The Jack/Hurley relationship is a cornerstone of the final season. And the thing is, this was not some storyline that was developed arbitrarily halfway through the series. No, the idea that Jack and Hurley are the true heart and soul of the Losties was firmly established in The Pilot and their relationship is one of the greatest, emotional throughlines LOST offers.
In that incredible opening scene, Jack runs to rescue Claire when he sees that Rose needs help as well. He calls out to the nearest person near him to assist him. And who is that person? Hurley. He makes sure that Hurley stays with Claire and protects her while he runs off to save Rose. Later on, he asks for Hurley’s assistance in helping to operate on the dying Marshall. It’s a comical scene, but it deftly shows the immediate connection that these two share.
Jack and Hurley Save Claire, The Pilot:
Jack’s heroics in The Pilot are obvious. He saves plenty during that opening scene on the beach. He runs into the jungle to find the transponder in the wreckage of the cockpit. He narrowly escapes being killed by The Monster (or so he thinks.. as we know by the end of the series, The Monster cannot kill any Candidates… but he can infect them with The Sicknes… hmm, starts to put into perspective why The Monster was trying to drag Locke down into that hole at the end of Season One).
But Hurley does the little things. The day after the crash, he’s the first one to ask about burying the bodies. And the night of the crash, he is the one who collects all the remaining food trays from 815 and passes around dinner for all the survivors. In possibly my favorite moment of The Pilot, after giving the pregnant Claire one tray, he doubles back to give her another.
After Jack dies, Hurley wonders what he is supposed to do. It was supposed to be Jack who replaces Jacob, not him. But Ben is there to support him (finally, Ben begins to understand). Ben tells him:
“You do what you do best, Hugo. You take care of people.”
This is evident from the opening scenes of The Pilot and it’s going to be fascinating to see it develop as I re-watch the series.
IV. ‘The Most Important Part Of Your Life Was The Time You Spent With These People.’
Invasion. Threshold. 6. The Event. Persons Unknown. Surface. FlashForward. V. Alcatraz.
Remember these shows? Some of them you probably do. But do you remember much aside from their initial ‘hook’ or premise?
There were many shows made in the wake of phenomenon of the survivors of Oceanic 815. Every network wanted to find and create the next LOST. Very few succeeded, however. To date, the only moderately successful shows that could be directly traced back to LOST are ABC’s Once Upon A Time (written by two of LOST’s main writers, Adam Horowitz and Edward Kitsis) and NBC’s Revolution (Executive Produced by LOST Co-Creator, JJ Abrams).
So why did so many of these shows fail, where LOST succeeded? Was it simply Island magic or was there something else going on?
As I’ve written, LOST always had more going for it than a Monster in the jungle or a Hatch in the ground. It had characters— emotionally rich characters that the audience sincerely cared about and grew to love. Many of these shows made a huge mistake by diving head first into mythology in the first episode. Instead of developing the characters, those writers chose to introduce heavy-handed mythology that the audience had zero emotional investment in yet.
The brilliance of the LOST Pilot, and Season One as a whole, is its acute focus on character. Sure, elements of major LOST mythology are introduced (The Monster, The Numbers, The Hatch), but it is always there to service the characters. When LOST really worked, it never sacrificed its characters’ motivations and choices for the sake of plot or mythology (there were some missteps here and there, but nothing too egregious). And in Season One, this laser focus is extremely apparent from The Pilot on.
Yes, there is the mystery of the plane crash, the strange sounding Monster in the jungle, and a cryptic distress call from a French woman, but that’s not what is front and center. Instead, our attention is directed to how the characters are responding to the crash and how they are going to survive among one another as strangers on The Island.
And The Pilot does a fantastic job of introducing some of the major character arcs of the series. The first time around you may not notice it, but it is all there. I’ve already gone into detail about Jack, Hurley, and Rose, but there are more.
First off, we have Kate. When we first meet her, she is walking out of the jungle, clearly distressed and rubbing her wrists for some strange reason. Jack asks for her help in sewing his wound up. She agrees and Jack and her bond while he tells her a story about a botched surgery he had to fix when he first started as a doctor. Kate is stunned.
“If it were me, I would have run for the door.”
“No, I don’t think you would have. You’re not running now.”
Later, Jack warns Kate (who is returning to the jungle after almost being killed by The Monster in an attempt to get a signal on the newly found transponder):
“If you see or hear anything.. you run.”
There’s an episode in the final season of LOST titled, What Kate Does. It is a play on the Season Two episode, What Kate Did, in which we find out why she has been on the run from the law. However, the Season Six episode, half of which takes place in the Flash-Sideways/After-Life does not concern itself with Kate’s original defining characteristic—her NEED to run. Rather, it is focused on her more admirable characteristic—her need to ALWAYS ‘go back’ for others.
Yes, when the show begins and we first meet Kate, she is an incredibly selfish woman. Many times she cannot see past herself. Her parents divorced when she was 5 and her step-father was an abusive drunk. All she ever she wanted to do, from the time she was a little girl, was run; to escape and leave the world she lived in behind.
She later found out that her abusive step-father was actually her biological father, which prompted Kate to kill him. She couldn’t live with the fact that he was a part of her, or as she says, ‘That I would never be good.’
And so she killed him and went on the run. She ran and ran and ran until she ended up on The Island and she couldn’t run anywhere else.
And then something amazing happened to Kate.
Kate lets go. She selflessly takes upon the task of raising Aaron once Claire goes missing. She becomes a mother. And she decides she has to go back to find a rescue Claire.
For a while, I thought this shift in character came from the time Aaron was born. Kate always felt incredibly protective of Aaron and Claire (I will go into detail about this as the series goes on). But even before this, there are moments of her acting bravely and selflessly.
And The Pilot features a first moment that acts as a perfect mirror to her more selfish impulse to ‘run.’ After her and Charlie narrowly escape The Monster, they cannot find Jack. Kate immediately springs into action and declares (I am not kidding):
‘We have to go back for him.’
So what does Kate do? What is her admirable, defining characteristic? She selflessly goes back for others.
And there are more. When we first meet Sawyer, he comes across as an ignorant, redneck jerk. He is abrasive and mean and downright racist. But there are two moments in The Pilot, which hint that there is much more to Sawyer than meets the eye. We are introduced to him as he surveys the wreckage and The Island. He looks completely, completely miserable. We think (the first time around) that he may just be pissed that he is stuck on this island. We know from watching the entire series that he is not 24 hours removed from wrongfully killing a man he believed was responsible for the death of his parents.
Later, we see him reading his infamous letter, and his eyes are full of self-torture and hatred. Sawyer despises himself and goes out of his way to make sure people hate him. He is a character who is so paralyzed by his past, so disgusted with the person he has become due to his past choices, that he cannot see any bright future for himself. He is an angry, young boy in a grown man’s body, stuck at the moment in time when his parents were killed… hateful that he has become the same kind of man he has been hunting his entire life.
Also, in a funny bit of irony after Sawyer shoots the polar bear (“I don’t know, probably Beat Village)… oh yeah, DHARMA is introduced for the first time in this episode with the arrival of a polar bear.. Sawyer explains that he found a gun that belonged to a Federal Marshal. When pressed how he knew the man was a Mashal, Sawyer whip’s out the Marshal’s badge. Why is this ironic? We know that Sawyer will end up becoming Head of DHARMA Security after he travels back in time (and the episode in which we discover this, Season Five’s LeFleur, acts as a marking post for the character insofar that this is the episode in which Sawyer learns to let go and embraces the notion that he is capable of love and being loved through his relationship with Juliet) and that, in the After-Life, Sawyer is a cop instead of a criminal.
And one last quick one. When Shannon finally comes to the realization that they are not going to be rescued, she freaks out, much to the chagrin of Boone. Boone had been trying to get Shannon to eat and help out for two days straight, but she was adamant that it was pointless as rescue was coming. When she gets the picture that this may not be the case, Boone has little sympathy for her. And then he delivers the dagger:
‘You’re just being worthless out here.’
Shannon’s past trauma, what she is unable to let go of, is believing that people close to her (especially her family) do not believe in her and deem her completely worthless. Shannon is more than a California Barbie, even if she had been forced to play the role due to how others saw her. Shannon learns to let go through her relationship with Sayid who uses her help to translate Rousseau’s French maps.
Moments before she dies, she is close to having a complete breakdown. She has been seeing visions of a dripping, wet Walt in the jungle and nobody believes her. She cries to Sayid that everybody thinks she is a joke.
“They think I’m worthless.’
Sayid tells her that he does not think she is worthless; that he loves her and he believes her. It is the last thing she hears before she dies. And in that regard, it makes complete sense that Sayid would need to be the one to help her remember in the After-Life. He is the only one in her life who ever believed in her.
These were all little things established in The Pilot. They were not earth shattering, big moments. They were tiny, character things and one of the main reasons why LOST was the success it was.
Also, not a character moment (but a fun thing I think we all have picked up on by now), there is the scene when we are first truly introduced to the (then mysterious) John Locke. Walt approaches him to ask what he is playing. Locke is playing a game of backgammon and goes into detail about its history and the purpose of the game:
"Two players. Two sides. One is light. One is dark."
This is, of course, unbelievable foreshadowing to the final season battle between The Man In Black and Jacob and his Candidates (our Losties). Scene is below:
Locke and Walt, The Pilot:
V. “Guys, Where Are We?”
The last scene of the pilot is as effective as the opening scene. But while the opening scene of LOST is stimulating and heart-pounding in its action, the final scene is downright creepy (and I mean that in the best of ways).
Sawyer, Kate, Sayid, Charlie, Shannon, and Boone have travelled up the mountains of The Island in an attempt to get a signal on their transponder and, hopefully, send out a message of their own. But when they finally get reception, they are met with something extremely unexpected—another voice on the other end… a pre-recorded message.
The voice is French and the message has been on loop for quite some time. As the battery dies, Shannon frantically attempts to translate as Sayid does the math to determine how long this mysterious message has been playing.
“I’m alone now. On The Island, alone. Please, someone come. The others, they’re dead. It killed them. It killed them all,” Shannon translates.
All are confused and, well, lost. Nobody has yet to meet Rousseau and nobody knows what happened to her crew after their interaction with The Monster (hint: The Sickness) Then comes the kicker. Sayid realizes the message is a distress call and has been on loop for sixteen years. The reality of this new world begins to sink in for them.
Nobody is coming to rescue them.
“Guys. Where are we?” Charlie asks.
I do not do this scene justice so please watch below:
Rousseau’s Distress Call, The Pilot:
Brilliant, isn’t it? It is engaging and demands you come back to watch the next episode.
And, the thing is, I was so wrapped up in the excitement of watching this moment again that something completely flew over my head for a few minutes.
The last line of The Pilot mirrors one of the last lines of The End.
After Jack realizes that he died and that he is in some form of the After-Life with his friends, he asks his father:
“Where are we, Dad?”
When Charlie asks the question, “Where are we?” the writers are not presenting this just as a question of physical proximity. No, this is a question very much concerned with the emotional and spiritual state of these characters. And, at the time immediately proceeding the crash of 815, they are all still irrevocably lost. They are broken and disparate and completely unable to let go.
But by The End? Where are these characters at that point? They are no longer broken and lost. They have found redemption through one another. Or as the song goes:
Amazing grace, how sweet the sound,
That saved a wretch like me.
I once was lost but now am found,
Was blind, but now I see.
Thank you for reading along. Hope you continue to follow this series. Next episode I tackle is the Kate-Centric episode, Season 1, Episode 3, Tabula Rasa.
*Seriously, this opening scene is still incredible. It is disorienting, the plane wreckage looks incredible, and the writing is spectacular in how it introduces certain characters. There is a GREAT beat after Jack instructs Hurley to watch over a pregnant Claire. The whole scene, up to this point, has been non-stop chaos. Jack is about to run off to resuscitate a passed out Rose. As he leaves Hurley, the future protector of the island screams out, ‘Hey! What’s your name?’ There is a pause and the music breaks. Jack screams out his name. And from that point on, we know EXACTLY who he is for the rest of The Pilot.
**Fun note to look out for in this retrospective—the seasons actually mirror one another. Season One and Season Six are mirrors of one another, with numerous callbacks, references, and focus on the emotional journey of the Losties. Season Two and Season Five are mirrors of one another, with a bent towards the sci-fi mythology of the show and a focus on the DHARMA Initiative. And Seasons Three and Seasons Four are mirrors of one another as they are both very much concerned with how Jack and The Oceanic 6 made it off The Island.
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