Plotlines

Locke undergoes quite a transformation in the first season and establishes himself as one of the most mysterious characters. This could be due to his backstory with his father and Helen, which is anything but simple. Add to that his paralysis and the fact that he’s no longer confined to a wheelchair.

Together with Boone, Locke discovers the hatch, which repeatedly proves to be a place full of mysteries, especially when the numbers appear, the same ones Hugo keeps reciting. These numbers are not only tied to his lottery win but also to all the misfortune that followed. This is why Hugo tries to prevent the hatch from being blown open at the end of the season when he notices the numbers on its edge. He knows nothing good awaits them there.

The Others are no longer as much of a mystery by this point, though this will shift again in Season 2. The veil we think has been slightly lifted will become thicker once more.

What should already be clear, however, is that they don’t have good intentions. But are we really talking about the same “Others”? It’s becoming increasingly apparent that this term might not refer to just one group but possibly multiple factions. This includes the Dharma Initiative, which, as mentioned earlier, will play a much larger role in Season 2.

The series clearly shows us that we shouldn’t rush to form opinions or judgments, especially because we don’t know all the background details. While we’re often given some context, and this becomes even more pronounced as the series progresses, LOST’s strength lies in never telling us the whole story. There are always gaps that are only filled in later, making it all the more exciting and dynamic.

The raft, which is built, burned down, and rebuilt, is also an interesting development. In some conversations among the survivors, there seems to be a growing sense of resignation, a willingness to accept their fate and view the island as their new home. However, this doesn’t apply to those who set out on the raft. Unfortunately, they don’t get far and are intercepted by the Others, who essentially send them to their deaths, except for Walt, who is kidnapped.

Ana Lucia is, for me, the most annoying character in the entire series, and this isn’t necessarily because of Michelle Rodriguez herself. Well, maybe a little. It’s due to how irrational her character behaves and how much worse it gets as the story progresses. Time and again, her actions make no sense at all, culminating in that bizarre hostage situation with Sayid.

What frustrates me about her character is how she embodies this clichéd Latina stereotype that oozes Hollywood tropes from every pore. Sorry if that sounds harsh, but whenever a Latina character appears, who can certainly have plenty of temper, that’s exactly how it plays out: lots of yelling, fighting, more yelling, more fighting, and then posturing as if being a strong woman means acting this way. No, it’s just poorly written; I’m sorry. Add to that, Michelle Rodriguez’s behavior off-screen, she was written out of the series after being caught driving under the influence (the same reason Cynthia Watros also left).

But this isn’t meant as a bash against Michelle Rodriguez, even if some might want to claim otherwise. When I saw Avatar (2009) and she appeared as a pilot, I was genuinely happy about it. She played a great character there, even if only briefly. I also liked her in Resident Evil (2002) and S.W.A.T. (2003), where she played tough soldiers or fighters but with more depth behind them.

Sorry for digressing a bit here, but my point isn’t about Michelle Rodriguez as an actress. It’s about how many stereotypes have developed over decades of television history. These stereotypes, stuffed with clichés, are repeatedly recycled, partly out of laziness and partly because there’s often no courage to try something new or original. And that’s frustrating because LOST isn’t an exception here. When you consider it was happening even back then and continues into modern Hollywood, it feels like factory farming when you look at today’s streaming services.

The numbers 4, 8, 15, 16, 23, and 42 serve as a recurring thread throughout the series. Sometimes they provoke a smile when they appear later; other times they evoke shock when connected to something completely unexpected. Naturally, these numbers have sparked countless theories, memes, and stories, which I may delve into later on, but for now, I wanted to mention them so no one thinks I’ve overlooked them.

Many of these points—especially the raft and the hatch, support my theory about LOST being an allegorical narrative. As mentioned earlier, the title already hints at people being lost and searching for a way back. The two plot lines mentioned also show setbacks (the raft) that one must be prepared for and learn to handle. The raft crew manages to survive without losing anyone, but it also shows that sacrifices must be made along the way. We’ll take a closer look at Michael’s path later on.

The hatch also fits into this theme, it represents a goal being worked toward, despite its unclear nature or what lies behind it. In Season 2 (when things become clearer), it could even be seen as representing destiny, a theme explored further by several characters later in the series. So rest assured, we’ll have plenty of material to discuss.

The hatch is open; the season is over, and what can I say? I’m sure I’ll come up with more topics for future articles. Yes, I’ve focused less on story details here because there are so many underlying themes beyond what’s shown on screen.

Of course, I’m not saying LOST’s story doesn’t matter; don’t get me wrong! But my articles aren’t meant to retell its plot, they’re meant to explore what else stands out: what bothers me; what works well; what’s extraordinary; and what catches my attention. Perhaps even offering some analysis here and there, albeit on a small scale.

So onward to Season 2 of LOST!