Years ago, when I read the finale of Stephen King's "The Dark Tower" series, I made a desision to never fault a writer for how they want to finish the epic they were writing. Even if I disagreed with it or wanted characters to end up different ways and do different things, as long as it wasn't completely divorce from the reality of what had come before, I was going to be ok with it.
It served me well reading The Dark Tower, it served me well at the end of The Soprano's, and it serves me well here.
Did I get all the answers I wanted? Nope. But I'm looking at the island as a dusty, skipping record. So much weird shit has happened there that it skips and pops, making a different piece of music than was originally intended. The numbers start out as one thing and end up as something completely different. It twists and turns so much because of Jacob's rules, or the way Dharma or "The Others" deal with them, or the way folks off the island react to coming in contact with them, that they lose their original meaning and become something different all together... like winning lottery numbers perhaps.
I don't need everything answered and I don't need everything spoonfed. Sprawling epics like this are going to get dicey in places, so you have to trust the writers that got you through the parts you enjoyed. King did it with TDT, Chase did it with The Sopranos and I think the Lost guys did it here. (Even though Newhart's probably done it better than anyone.)
Also, I'm going to be out in front of the ABC offices picketing for a new series of Hurley and Ben on the island. Anyone care to join me?
__________________
Howard Moon: The wind is my only friend.
Wind: [whistling] I hate you.
|