Good & Evil.
Love it or hate it, LOST will go down in history as one of the most diverse cult followings for a TV series ever. Whether you wear a navy blue pinstripe suit, slinging Mutual Funds all day, or you’re an unemployed level three sex offender, EVERYONE watched LOST.
Opening with the immediate aftermath of a plane crash on the beach of an Island, the show LOST, which ran 6 seasons from 2004 – 2010, sucked the audience in from the very first scene, and held the audience on pins and needles right up to it’s controversial ending in 2010.
With finale ratings of 13.5 million Americans, the series wrapped up, attempting to reveal the secrets that plagued the audience for years. The finale ratings were all the more impressive during the age of DVR, confirming what fans already knew, the show was an exciting weekly experience, and the weekly cliffhanger endings were becoming the focal point of social media and water coolers across America.
But it wasn’t all ice cream and BJ’s for fans of LOST, as the controversial finally split the audience. More than half were disappointed, while others felt the closure they desired.
The reason? It’s the same reason that closed out the 90’s with fans either loving the Friends finale and hating the Seinfeld finale, or visa versa. It’s consistency. Odds are if you hated the Seinfeld ending, you won’t like the LOST ending, as the writers chose to end the show in the same manner the show was written. (i.e. it’s a comedy show about nothing that ended with nothing pretty much happening to change them) LOST treated the viewer as an adult, and felt no need to ever spell anything out. If any character has to indirectly inform the audience how to feel, that is a failure on the part of the writer. The point is having a consistent ending that encompasses the series, which is something lazy viewers want to do away with so they can have their final tissue blowing, tearful, circle jerk that Friends left us with.
“HUH? Why, what did YOU think a circle jerk was?”
Aside from the social acceptance of the show, it held its end of the bargain for the most part. Love triangles, character development, plaguing questions, gruesome deaths, and the anxiety knowing a main character could die in any given episode kept audiences tied to either one or multiple storylines.
The series also put JJ Abrams on the map, after being pitched with the ending included, and additional seasons as filler, the weekly episodes were left to competent writers to fill in the substance, which was hit or miss, depending on the season.
Also credited to the show was the elimination of an opening repetitive theme song/cut scene… Instead they dive right into the content as credits roll across the bottom, leaving only a splash scene and trademark sound effect to lock in the beginning of every episode.
Lastly, the success of this show was the manner in which it unraveled. It is a science fiction show, but the audience didn’t realize that until a few seasons into it. In fact, if it was set up as a science fiction show, it wouldn’t have come close to the impact it had on the world. It was the delivery of the science fiction that got market segments that normally wouldn’t watch a sci-fi television show invested in it.
Simply one of the greatest television experiences to ever hit television. Perhaps it ran a season or two longer than it should have, and involved way to many “filler” plot lines, but the end result changed our expectations of a dramatic television series, and even more impressively, it was done by a science fiction show.
Take a Drink: anytime Saywer calls someone by a nickname
Take a Drink: anytime Jacob is mentioned
Take a Drink: anytime Hugo says “dude”
Down a Shot: whenever someone refers to the island as if it were a conscious being
Down a Shot: whenever you decide to immediately play the next episode because of the way the previous episode ended