Season 3 - Ep. 9 - "Stranger In A Strange Land"

Initial Episode Reaction:

Descriptors used to assess transitional episodes often fall into the “meh” category. “Stranger In A Strange Land” was no exception. Exposition overload? Check. Forced plot devices? Bingo. Montage ending? You bet. In many ways, episode nine of season 3 represented the epitome of bad stock screenwriting 101. Even the episode’s bright spots were overshadowed by dramatic heavy-handedness and contrived metaphors that simply had no place.

In most LOST episodes, the writers excel at balancing the flashback and on-island story in congruence with a compelling allegory. Or, at the very least, the writers relate the choices made in the centric-story to the current circumstances upon the island. However, when the analogy comes off as forced, the episode fails to ring true. This especially is the case when the writers attempt to connect the proverbial dots with curved lines instead of straight ones.

“Stranger In A Strange Land” is a poor episode because it carried an obtuse, unclear goal – and did so in a not-so-pleasant stylistic manner. Jack’s flashback tells us precisely what we already know about him: he is a leader, one who exhibits hidden noble qualities; but within him exists undermining aspects of his personality - stubbornness, impatient, anger - that pushes people away. All of this has been previously established in past Jack-centric episodes; and, as a result, the repetitive storytelling that plagued “I Do” also damages this past episode

The LOST narrative trademark has always been found in the relationship between past decisions and present situations, and the tie-in usually works so well that the viewers can anticipate how a certain character will react to a specific event. Rather than moving Jack’s character in a clear direction – either towards his heroic progression or his inability to overcome the negatives within himself, which could lead to a disastrous result – the episode leaves confusion and ambiguity. In fact, the viewers are only left with the literal meaning of Jack’s tattoo as a potential suggestion concerning his eventual role on LOST Island and among the Others.

Overall, “Stranger In A Strange Land” lacked an inclusive focus while the writers appeared to struggle with paralleling Jack’s background story to the island on-goings. Even some of the parallels that “worked” stumbled out of the gate and never felt fluid, but rather, forcefully engineered by the writers. The promotions department also didn’t help the episode since it was advertised as something that it obviously wasn’t and teasers gave away more than they should have. Considering the previous two episodes, this one was bound to suffer, but that’s not an excuse. Nevertheless, all seasons hit obstacles and setback episodes; and one would hope that this hurdle is jumped in the future.

Analysis:

Tattoo: The translation of the Chinese characters tattooed on Jack’s shoulder reads, “He walks amongst us, but he is not one of us.” The Others’ sheriff, as Tom describes as her, interprets that as an ironic statement given his current situation. Aside for the fact that ‘ironic’ is the wrong word to use, the saying is actually a different way to refer to a leader. After all, a leader is often forced to separate him-or-herself from the rest of the group—therefore, he is not of the same ilk as the others.

Jack’s response to what the tattoos translate to is interesting as well. He says that is what the tats say, but not what they mean. When he received the tattoo, he was told it would brand him as “a leader, a great man … but one who is lonely and angry.” To Jack, that’s what it means, and that's why he demanded it. After turning in his father, Christian, he needed validation and an understanding that he did the right thing but would be tortured by it. He may have never known what his tattoo truly said if not for that moment, but the story behind the tattoo carries much more weight.

Stranger: Taken in context with this episode, the novel by Robert Heinlein entitled, “Stanger in a Strange Land,” may tell us quite a bit about the direction Jack’s character could take. One can conclude that the meaning of Jack's tattoo (to those in Thailand) is not simply “Stranger who walks among us” but more along the lines of “Stranger who comes to lead you.” The Thai boys wanted no part of this outsider taking on any kind of leadership role in their society so they violently forced him to expedient as soon as possible. The Other's reading of it may have been a literal translation, but the true meaning hints towards Jack’s destiny to lead the Others.

Season 3 - Ep. 8 - "Flashes Before Your Eyes"

Initial Episode Reaction:

“Because maybe … you're gonna be the one who saves me,” sings Charlie as a déjà vu’ed Desmond approaches him. Just one example of the cleverness and depth found in one of LOST’s masterpiece episodes.

While the full-on flashback was utilized as a plot device to reveal Charlie’s date with death, “Flashes Before Your Eyes,” like most LOST episodes, includes underlying themes, subtle foreshadowing and the fundamental question that remains at the epicenter of the show: fate versus freewill.

It is always a challenge, and major risk, to step away from the customary formula and draw up an innovative blueprint for an episode. LOST is never formulaic in its storytelling, but the writers consistently produce episodes with about one-third flashback, two-thirds island. However, the writers managed to take the normal format and furnish it with a charming and captivating twist. The end result was an episode that not only appears to have long-standing implications on the central story arch, but is also the provider of bountiful speculation on the deepest philosophical questions. And at the very least, the information unearthed in “Flashes Before Your Eyes” needs to be examined in context with the nature of Mystery Island. Desmond’s transcendence of time, or whatever state he has found himself in, may just be scratching the surface of what is going on with our Lostaways.

With this episode, the writers flex their muscles, both with conventional storytelling in a new environment and cavernous theoretical contemplation. The episode not only fleshes out the story of Desmond and Penny Widmore while reconfirming the classic motifs of the whiskey-swigging Scotsman – with a coward’s badge upon his chest, a good man who will never be great – but also what happened to him upon turning the failsafe key in the Swan station. Desmond, reluctant to believe it at first (and the viewers are with him), has seen his whole life flash before him, even parts of his life that have yet to happen.

How this is possible, even in a pseudo-science sense, becomes tricky, both for the writers and onlookers. Perhaps these are delusions of grandeur triggered by the electro-magnetic implosion, coupled with a run of good luck on the part of Desmond’s precognitive ambitions. Time (perhaps literally) will tell how it all holds up.

In the course of Desmond’s elongated flash to the past, we also are introduced to a fresh theme, though more of a second cousin to prior philosophical ideas. The ring lady oracle describes it as course correction by the almighty universe; in other words, the inability to escape fate. Like the Greeks before them, the writers of LOST are thematically echoing halcyon tales where the Tragic Hero stands at the crux of it all. Desmond, LOST’s version of Agamemnon or Oedipus or countless others, is destined for ruin, knows when and how it will occur, but can do nothing, despite best efforts, to avoid it. Of course, the ruin in this case, on island, is the demise of Charlie.

The writers have also re-utilized another element that prevailed throughout the first two seasons: acceptance of the island’s desires versus confronting the inevitable. Although a brief scene, Locke’s willingness to believe that Eko’s death has a greater meaning and was meant to be, very much represents the fate served down by the universe, as suggested by Desmond’s oracle friend. In contrast, Desmond is not willing to accept such a fate as he actively tries to alter the outcomes (Charlie’s death) set forth by the universe, the island, God or whatever. This very easily could be referred to as science versus faith, Locke versus Jack, all over again. Are the writers setting up further Polar Opposites, contrasting parts in yin-like and yang-like personas? Maybe, but that remains to be seen.

Overall, “Flashes Before Your Eyes” served as a unique glimpse at Desmond’s history, but this time with more than just a metaphorical tie to the island story. The writers take a chance and shake up status quo, in more ways than one, but do so in a surprising and provocative manner. The repercussions of this episode are quite intricate, and if crafted soundly, they should act as a telltale sign towards the meaning behind the series.

Analysis:

Dave Hume: While we learned the full name of Desmond last season, it seems even more appropriate to discuss the philosopher given what was learned in “Flashes Before Your Eyes.” David Hume, an 18th century philosophizer, obsessed over, among other things, the relationship between free will and determinism. Hume was a strong believer that free will and determinism were compatible and capable of co-existence.

From wikipedia:

“According to Hume, free will should not be understood as an absolute ability to have chosen differently under exactly the same inner and outer circumstances. Rather, it is a hypothetical ability to have chosen differently if one had been differently psychologically disposed by some different beliefs or desires. That is, when one says that one could either continue to read this page or to delete it, one doesn't really mean that both choices are compatible with the complete state of the world right now, but rather that if one had desired to delete it one would have, even though as a matter of fact one actually desires to continue reading it, and therefore that is what will actually happen.

Hume also maintains that free acts are not uncaused (or mysteriously self-caused as Kant would have it) but rather caused by our choices as determined by our beliefs, desires, and by our characters. While a decision making process exists in Hume's determinism, a causal chain of events governs this process.”

Of course, how can one have free will if everything is determined?

Well, when Hume says some kind of determinism is required if one wants to have free will, he is talking about knowing the results or effects of an action – otherwise what good is free will if one never knows what will come of his/her decisions – what positives, what negatives?

Another way to think of Hume’s suggestion is to question the belief of the past being fixed somehow, especially since certain results and effects in science seem to cast doubt upon it. Some physicists and eastern philosophies put forward that determinism might have a relationship with every element of the universe just as the universe influences every other part.

Yes, a fire will always consume wood. But, if you could foresee death, and know how it occurs, well, you'd be throwing a mighty big wrench in the plans of the almighty universe and the laws of nature.

The Time Paradox: Time travel is a complicated and touchy area for even the greatest of sci-fi writers. In the LOST world, where every mystical element of the show (allegedly) has roots in the pseudo-science realm, the writers have a challenge on their collective hands. But let’s try to explain one possibility of how time works, which snuggly connects with the concepts of David Hume.

Look at time for Desmond as a folded accordion, with the past, present and future overlapping and existing all at once. When he is in the past (the "flashback"), he is recalling things that have yet to happen; when he is in the present (on island), he is foreseeing things as if he has already experienced them. Desmond is basically transcending space and time; the flashes he is now experiencing on island (Locke's speech, the drowning, etc.) are much like the flashes he was experiencing in his flashback (i.e., the beeping from the hatch, the numbers, etc.). Physically, Desmond is in one space in time (the island), but another part of him is experiencing or has experienced the future, though he only receives bits of information from that future (like he did in his reliving of the past).

OK, Sherlock. But it isn’t possible, not in any pseudo-science sense.

If you put a gun to my scientific theory-mongering mind, I’d say true. But the greatest physicists in history have battled the mysteries of the universe and lost far more than they won. Conjecture and speculation without proof is frowned upon, but it inhabitants religion and the early stages of many scientific-thinkers hypotheses. The point is: time is an ever-growing challenge for scientists. Many believe time is not linear or one-dimensional, but rather as three-dimensional as space is. This idea, which is certainly meta-science but science nonetheless, is that time happens all at once. A metaphor to illustrate the idea is a stone thrown into a still pond, where the ripples, representing time, move out from the center of the contact point. Each ripple acts as different time lines with different experience, yet at the center is the stone, or the person. Of course, the stone, or the person, is only aware, and experiences, a linear path of time. But what if you could experience them all?

Another pseudo-science thought is that we are more than our physical bodies – certainly LOST has its share of examples with near death experiences, out of body experiences and forms of remote viewing. So if all time is simultaneous and we are more than our physical bodies, then perhaps we exist everywhere at once and it is only through a selective focus that we seem to be here in the present world. But what if Desmond, as a result of the electro-magnetic implosion, transcends this selective focus?

The plausibility of all this can be found within a populist explanation of string theory. Stephen Hawking was brought to the forefront after we sneaked a peek at Aldo reading A Brief History of Time; and the ring lady oracle’s listed name in the press release was, you guessed it, Ms. Hawking.

The Oracle: OK, so you just offered a mediocre reply to what happened to Desmond, but how does the old ring lady work into all this transcendence of time gibberish?

This is a better, and tougher, question to answer. It actually requires a much further paranormal explanation. The oracle could serves as a representative from the island, the universe, fate, etc. – all possibilities are supernatural and have no basis in even pseudo-science. The simplest answer is that Desmond’s oracle represents his subconscious, as offered by Desmond himself. This seems like an appropriate, Occam’s Razor-type answer.

But another possibility exists. If Desmond is transcending time and space, the ring lady could be as well. Contextually, she could be involved with DHARMA, the subject of The Valenzetti Equation, or whatever freakiness that inhabits the island. She could be a representation of evil – one that wants Desmond to succumb to fate. This may be a bit too far out there for LOST - combatant time travelers is pushing it. But smoke monsters are tough to comprehend as well. Hey, it’s a sci-fi show – can’t accept it, get while you still can.

The Wildcard: Desmond’s best pal, Donovan, who is a professor of physics in London, is advising a grad-student on her thesis that likely concerns Chaos Theory or something interrelated. Donovan is concerned with the research’s inherent unpredictability, making mention of the random qualities of life (such as a drenched Scotsman running into the rotunda). Such a comment brings to mind The Valenzetti Equation – a mathematical formula that “predicts the exact number of years and months until humanity extinguishes itself.” As Alvar Hanso explains, the purpose of the DHARMA Initiative is to change the numerical factors of any one of the core numbers (4, 8, 15, 16, 23, 42) in the equation in order to give humanity a chance to survive.

This begs the query: is Desmond the wildcard factor required to successfully alter the literal end of humanity, not just the mathematical guesstimate that intends to decipher the same? This is a rhetorical question.

Widmore and Whiskey: The whiskey bit, a brilliant monologue penned by Damon Lindelof and Drew Goddard, established Charles Widmore as one of LOST’s sinister characters. Desmond isn’t even worth a measly swallow of Widmore Sr.’s valued MacCutcheon spirit. This brand of whiskey serves to symbolism Desmond’s unworthiness to Charles and Penny; and though frequently staring him in the face, the whiskey seemingly remains unattainable. That is, of course, until Charlie digs up a bottle on LOST Island. We understand perfectly why Desmond reacts with maniacal laughter towards the MacCutcheon after his pseudo-flashback - on the surface, it is irony at work, and at its best; but it also a notable sign that Desmond is worthy and capable of being a great man. Just one of many elements that came together in an episode that easily highlights season 3.

Oz: The red shoes were more than “a bold fashion choice worth noting" - they also were another obvious “Wizard of Oz” allusion after the man wearing them was crushed by a falling scaffolding, leaving only ruby-esque colored slippers protruding from slabs of metal and further wreckage. Ms. Hawking uses this “accident” as a demonstration of her principle belief of universal course-correction when one tries to alter destiny.

But the Oz reference itself may have an underlining meaning as well. What if, like with Dorothy in Oz, Desmond was not in another dimension of time, but simply knocked out and dreaming of his escapade to the past? The counter argument, however, is that Desmond can see the future; therefore, the turning of the failsafe key and subsequent implosion caused a time rip somehow. Perhaps it is a little bit of both – part dream (of the past), part precognitive abilities (from the present). Either way, time is no longer enslaving for Desmond - we just aren’t quite sure how or why.

Charlie’s Fate: Hieronymus Pace has had his brushes with death. He certainly appeared dead after Ethan strung him from a tree. Dr. Ethan came after him again later and a Rousseau trap nearly bludgeoned him to death. Then there are the near misses prevented by Sir Hume. Since LOST never shows its full hand, it seems likely that Charlie will not die. And, after all, the idea that you can’t change fate – that you have no control over yourself or others – is rather bleak and depressing. This is not to say that the ending will be a happy one, though; the possibility of someone taking the place of Charlie when it is his turn to roll the die of fatality is quite high. Desmond, to prove he is not a coward, to prove destiny wrong, may make the ultimate sacrifice in the process.

Season 3 - Ep. 7 - "Not In Portland"

Initial Episode Reaction:

A little aversion therapy, a sermon in Dhammapada, and a breakthrough in male mouse fertility – yes, LOST is back. And if the Others already weren’t creepy enough, the fact that one of them was brushing up on Stephen Hawking and cosmology only cements the hodgepodge of oddness that encapsulates the all-knowing, all-controlling island dwellers.

Season 3 continued on Wednesday night with “Not In Portland,” an episode that not only presented us with a game-changing perspective of Juliet, but also reconfirmed prior queries regarding DHARMA’s reach beyond Mystery Island and upon the mainland. Of course, we refer to them as DHARMA but reality tells us that the Others and the Hanso-funded group are not one in the same, at least not completely; and the parent group (whether it be Mittelos or not) off-island may be an entirely different entity, far removed from the grasp of Alvar Hanso.

The episode itself, taken as a stand-alone, was well-paced with enough action and bits of weirdness to stay engaging. But when viewed as the capper to the pod of six shown last year, “Not In Portland” works on several levels – thematically, philosophically, emotionally, and structurally from a narrative standpoint.

Perhaps “Not In Portland” is best appreciated if placed adjacent to “A Tale of Two Cities.” From the very first episode of season 3 we felt a symbolic connection between Jack and Juliet but now we have the evidence to back up how similar these two characters are in the LOST mythos. Obviously, Jack and Juliet are both successful, groundbreaking, miracle-inducing doctors but the comparisons simply begin there, not end.

In flashback, we observe a very weak and timid demeanor from Juliet, especially when contrasted with her battle-tested, more independent, on-island persona. J.J. Abrams, who was scheduled to direct the episode, dropped out due to other commitments, but in his steed, Stephen Williams did a fine job selling the psychological changes within Juliet by highlighting them physically (with an assist from Elizabeth Mitchell, of course). Notice, on multiple occasions, as the episode cuts to close-ups of Juliet’s face in the past and then how her appearance is quickly altered when shifted to close-ups in the present. In other words, from pale skin, watery eyes, emotional expressions, soft curls, and defensive smiles to tanned skin, unwavering eyes, steadfast visage, straightened hair, and smile-less confidence. This juxtaposition illustrates a woman who may be frightened at the core but has found a way to overcome, find strength, and move on (we can only imagine what tasks she has carried out and hardships she has faced over the last 3 years, 2 months, and 28 days of her life).

In many ways, Jack has a similar story. There’s no need to rehash too much, but psychopath-stalker Jack finally found resolve concerning Sarah on Hydra Island, and his progression from reluctant leader to a heroic one meshes nicely with Juliet’s found leadership (or mutinous actions). Above all, both worked with loved (or once loved) ones who were at the top of their professions while being overly controlling and negative influences. Of course, the writers still re-validate this symbolism in the episode when Kate retells the story about Jack and his mistake on the operating table with the young girl. The account paints us a pre-island Jack that is scared and overwhelmed with intense fear, but one that he will defeat. During this rather poignant scene there are numerous reaction shots of Juliet and her eyes tell us that she is impacted. Juliet and Jack mirror each other and there is bound to be friction between them or as a result of their connection.

Overall, “Not In Portland” wasn’t flawless – a few cringe-inducing cliché moments standout (for example, the shooting of the walkie-talkie) and a potential irritating plot-hole remains - but a fresh backstory filled with subtle hints toward the overall picture should leave the parched throats of thirsting-for-LOST-viewers moderately quenched. Now the writers just need to keep it up and we’ll discover soon enough if they have done their job as the storytelling has the opportunity to flow without the hindrance of rhythm-derailing, viewer-dispatching repeats.

Analysis:

Another LOST opening sequence, some further deception. The creators of the show have trained us fairly well when it comes to recognizing misdirection, but if spoiler-free, the setting at the outset of “Not In Portland” proved tough to crack. An outwardly beautiful nightly beachside where ocean waves reflect a horizon bounded by a purple twilight arch. A gloomy Juliet searches the waves for answers as she stares outwards to the salty waters; a scene that slightly reminds us of a despondent and famished Jack after consoling Rose and seeing the apparition of his dead father. The trickery is amplified with the cameo of Ethan Rom as he walks past Juliet in a hatch-like hallway. The lack of recognition between the two is a clue, but we become distracted when they cut to Juliet as she stockpiles a few Desmond-like vaccine vials and proceeds to administer a shot into a pregnant woman, a la Dr. Ethan injecting Claire in “Maternity Leave.”

But, of course, Juliet, Ethan, and the pregnant woman are not on LOST Island. Rather, they reside in Miami, Florida, and by episode’s end, we learn that Juliet is a prisoner of the Others just the same as Jack and his troupe of survivors - quite a turn of events.

From “Not In Portland” we can discern a few important aspects of the Others: one, they recruit “personnel” off-island, at least they did as far back as September 2001; and two, their desperation for a renowned fertility doctor connects with their desire to abduct and study children. The 70-year-old womb in a 26-year-old’s body is another clue towards the Others infertility. The why, per usual, is a bit hazy. It’s interesting that Juliet’s arrival on island dates back to a mere few days before 9/11, but 2001 was also a year human-cloning debates, trials, laws and studies were at an influx. Then again, the producers have ruled out even mentioning the word ‘clone’ in the show, but it fits perfectly in a pseudo-science sense.

Staying within the flashback, we are also introduced to Edmund Burke, Juliet’s ex-husband who heads the Miami Central University Medical Research Laboratory. Burke, yet another direct reference to an 18th century philosopher, is first unaware of Juliet’s underground fertility experiments on her sister, Rachel. Once discovered, Burke lets her continue but puts her in check. If her research is not shared, he promises that light will be shined on her trials and ethical questions will certainly follow. Juliet very well could be ruined. At the same time, if her experimentation finds success (which it does), Edmund, as Juliet’s superior, wants his name in the papers and, perhaps, most of the adulation. Basic blackmail. It’s also the reason why Juliet decides against joining Mittelos because she knows Edmund will be ready to blow the whistle on her “morally questionable” research.

But all is well when a Greyhound tattoos Edmund – this coming only a day after Juliet met with Richard Alpert, lead recruiter of Mittelos Bioscience, and bluntly joked that she was trapped in Miami unless Edmund came face-to-face with a two-ton bus. Got to love good black humor. How Alpert and company orchestrated Edmund’s death seems fruitless; it’s a simple narrative tool, nothing more. Unless, of course, the Others actually can twist fate with the machinations of some anomalous mathematical equation.

Another example of the Others all-knowingness is once again witnessed as Alpert is aware of Rachel’s pregnancy. Alpert says they are very “thorough” in their research of potential recruitments. One would suspect that Ethan played a pivotal role in the recon process.

(Note: Richard Alpert, much like Edmund Burke, is a direct reference to an actual person in history. Dr. Richard Alpert, otherwise known as Ram Dass, is a contemporary spiritual teacher and psychologist best known for his exploration of the human consciousness and concentrated research with LSD and other psychedelics. This leads quite nicely to Karl’s conditioning/aversion therapy to be discussed later.)

Although we do not know exactly what happens following Alpert’s re-offer to Juliet, we can obviously assume she accepted. Alpert even seemed forthcoming with information regarding the corporation he represents; only it doesn’t turn out to be a six-month operation. How many others were duped, and then imprisoned, like Juliet?

On island, once an awakened Ben overhears Jack squealing (and rightfully so, he had to play his last card) on Juliet, he holds a private conversation with her. Even opened up on an operating table, he still drives the bus. As we later learn, Ben has asked Juliet to help Kate and Sawyer escape, thus allowing Jack to finish the operation. In exchange, Ben has promised to let Juliet depart the island. Essentially, it is the same offer Ben presented Jack. But a wrinkle is added in the end as Juliet kills Pickett. Can Ben allow a murderous traitor to go home? Did he ever intend for her to leave in the first place? The ramifications from Juliet’s action are unlikely to be lenient; after all, that would not make for very good storytelling.

The B story - merely an extension of the A story - centered on Kate and Sawyer’s escape with help from renegade Alex, who, much like her mother, has a knack for traps and underground hideouts. A side-quest develops as Alex barters Kate and Sawyer into helping her rescue Karl, who is being held in a subsidiary of the Hydra station. After pulling the old Wookie gag, they find Karl seated within Room 23, which blares techno-industrial music and has a film projector rolling a medley of subliminal images and phrases. Karl, strapped into a chair with LED goggles plugged over his eyes, is being fed something (likely a drug) intravenously.

The entire scene brings to mind the Ludovico Technique in the film “A Clockwork Orange.” The technique in the film is a form of aversion therapy, in which a person is given a drug that induces extreme nausea while being forced to watch graphically violent films. The idea is that when the person even has a violent thought, he grows cripplingly nauseous and is rendered incapable of carrying out any violent action.

In this specific case, a subject may not have been receiving negative stimuli, but positive stimuli, because the images and phrases met the DHARMA doctrine. But all told, the procedure seems a bit out there even for the Others; it’s likely that Karl wasn’t being given anything outside of fluids. But it does tell us about the complete insanity that was the DHARMA Initiative, and demonstrates how the DeGroot faction became manipulative, cultish, and outright dangerous in their studies.

At the end of the episode, with Pickett shot dead, Ben stitched up, and Sawyer, Kate, and Karl sailing off to the main island, we are left with several questions: What will happen to Jack? How useful will Karl be as an information source to the Lostaways? And will Juliet be freed? Unfortunately, the answers will be delayed as we delve back into the main island castaways.

Extra Notes:

Major plot-hole watch - when Jack astutely asks Tom why Ben couldn’t have been transferred, he says that since the sky turned people communication is a no-go with the outside world; but the sky didn’t turn purple until a handful of days ago, and Ben found out about his tumor long before then. This lost communication plot device isn’t a good enough escape clause for the writers. Ben either can’t leave the island for some unknown reason or the writers have backed themselves into a corner …

When Kate retells the story of Jack and his confrontation with Fear, the direction focuses on a number of close-ups of all the characters listening in. Sawyer’s expression just about sums up the rekindled mutual feelings between Kate and Jack …

As mentioned previously on the blog, Alex is Ben’s father but not biologically. Alex would not even know of Danielle or the fact that she was abducted. Therefore, she assumes Ben is her father because, well, she was told so …

Religious references - Rachel was the second and most beloved wife of Jacob and among her sons was Benjamin. The notion that Ben is the son of Jacob should be locked away in our memory banks. Also, one of the phrases on the Room 23 film read, “God loves you as He loved Jacob," which may be a Biblical reference to Psalm 47:4 …

Dhammapada is a Buddhist scripture. The phrase “Plant a good seed and you will joyfully gather fruit,” which was shown on one of the slides in Room 23, is found in the scripture. Further phrases like “We are the causes of our own suffering” and "Think about your life” likely refer to Buddhism’s Four Noble Truths, and the phrase “Everything changes” also imitates known Buddhist text …

The Other named Aldo was reading A Brief History of Time, which was penned by Stephen Hawking. The book attempts to explain, in layman’s terms and with diagrams, subjects in cosmology such as the Big Bang theory, the creation of black holes, and Superstring theory. Seems as if the Others are interested in theories concerning the formation and evolution of the universe just as the viewers of LOST are interested in theories regarding the origins of the Others and the evolution of the island ...

And that note transitions nicely into the final and most intriguing one - by reversing the audio during the Room 23 sequence, a woman's voice is heard repeating "Only fools are enslaved by time and space" (the exact phrase is yet more DHARMA dogma that can be found in Buddhist Perspective of Time and Space). A little backmasking never hurts in the brainwashing process. But again, another time reference. Time, folks, it just might be a huge clue to the central mystery of the show. Not only is Mittelos an anagram for 'lost time' (or 'time lost'), but there is also a well-known never-to-be-shot scene between Rousseau and Sayid in "Solitary" where everyone's favorite French woman reveals that her science team's research involved time. According to rumors, the dialogue never made it beyond the original script draft because it revealed far too much.

There is, however, some question regarding the accuracy of the reversed audio (which can be found here) and whether it has been doctored, but it is evident from just the basic reversal of the audio that a woman is saying "only fools are enslaved ..." The clearer audio (which can be found here) has eliminated excess noise and altered left-right speaker volumes; despite claims to the contrary, it is accurate.

New LOST-related Web site?

Check out mittelosbioscience.org.

This corporation supposedly plays a significant role in tonight's episode entitled, "Not In Portland."

Mittelos is an anagram for "lost time," but it also means indigent in German.

EDIT - Since posted, this site has been confirmed as fan-created. My guess: the fellows at Harvard had their fun with this site after receiving a sneak peek in January.