OldWiz
11-07-2004, 04:38 PM
There is an obvious conspiracy among the writers to delude/confuse/obfuscate/ and generally befuddle the viewing population. I believe it is Chapter One of the Secret Devious Writer's Handbook. My 'proof' is as follows:
1. There will be more and more of the 'why did we survive speculation' continuing - that is both a correct psychological reaction for the characters in this situation, i.e. 'survivors guilt', and it gives the writers a ton of fun making us think there is something going on besides just 'fate' - that is, some survived, some didn't, no 'plan' involved. They (the writers) are already getting the fans into the Identity/Final Destination/St. Elsewhere/Matrix, etc. speculation and are probably laughing their butts off all the while thinking of more red-herrings to toss out! If you're wondering about Locke's paralysis 'miracle', check out my posts in the Character forum - Locke's Wheelchair.
2. Each individual episode is based upon a character's 'story' within the context of this situation they ended up in. So, it only makes sense (from a story-telling point of view) that there definitely will be inter-connectivity between the characters. But, it will be limited, and logical (at a later time to us viewers) because the 'real' story is how each person deals with their own internal issues as well as how those issues interact with the other characters. This is a great concept by itself, and doesn't need to be overly-complicated with unneeded, and credibility-stretching connections. If this were a mini-series it could make sense, but for an open-ended series the writers would want the freedom to develop new connections without being constrained by an overly-complicated, and pre-determined, self-limiting complex of connections.
3. There is definitely something unusual about this island but it could be something as straight-forward (but sinister) as a secret government lab (probably French, by the way) gone awry. This provides enough latitude for the characters to have all kinds of 'inexplicable' events occurring around, and to, them to keep us busy for a long time. ...distant sound of writer's laughing in the background.
So, using the KISS principle, I think the writers have constructed a series with the following components:
1. We have a group of people all subject to 'survivor syndrome' - a bonafide psychological condition, that allow the characters and viewers to form all kinds of different explanations.
2. Each person has his/her own story with dramatic elements that can interest viewers and other characters.
3. Some of the people's stories interconnect simply because they were all in the same place going to the same destination.
4. We have an out-of-the-way island that makes hope of rescue less likely. This makes group dynamics needed for survival more important.
5. We have unknown elements about the island that generates mystery and threats that the characters must deal with each week.
6. Most importantly, we have a diverse group of survivors with built-in group dynamics that cause conflict
7. Finally, we, the hapless fans, are 'told' that a spanish comic book and Watership Down really means something - I hope there are multiple hemorrhages during their fits of laughter...or, at least a good stomach ache or two.
The combination of these simple (by themselves) concepts provides the framework for an endless variety of interesting/interlocking episodes that will 'suck' us into the consciousness-reducing vortex demanded by the League of Devious Writerhood.
...Momma don't let your babies grow up to be writers... :angel:
I used to have a life before this damn show! :lol2:
1. There will be more and more of the 'why did we survive speculation' continuing - that is both a correct psychological reaction for the characters in this situation, i.e. 'survivors guilt', and it gives the writers a ton of fun making us think there is something going on besides just 'fate' - that is, some survived, some didn't, no 'plan' involved. They (the writers) are already getting the fans into the Identity/Final Destination/St. Elsewhere/Matrix, etc. speculation and are probably laughing their butts off all the while thinking of more red-herrings to toss out! If you're wondering about Locke's paralysis 'miracle', check out my posts in the Character forum - Locke's Wheelchair.
2. Each individual episode is based upon a character's 'story' within the context of this situation they ended up in. So, it only makes sense (from a story-telling point of view) that there definitely will be inter-connectivity between the characters. But, it will be limited, and logical (at a later time to us viewers) because the 'real' story is how each person deals with their own internal issues as well as how those issues interact with the other characters. This is a great concept by itself, and doesn't need to be overly-complicated with unneeded, and credibility-stretching connections. If this were a mini-series it could make sense, but for an open-ended series the writers would want the freedom to develop new connections without being constrained by an overly-complicated, and pre-determined, self-limiting complex of connections.
3. There is definitely something unusual about this island but it could be something as straight-forward (but sinister) as a secret government lab (probably French, by the way) gone awry. This provides enough latitude for the characters to have all kinds of 'inexplicable' events occurring around, and to, them to keep us busy for a long time. ...distant sound of writer's laughing in the background.
So, using the KISS principle, I think the writers have constructed a series with the following components:
1. We have a group of people all subject to 'survivor syndrome' - a bonafide psychological condition, that allow the characters and viewers to form all kinds of different explanations.
2. Each person has his/her own story with dramatic elements that can interest viewers and other characters.
3. Some of the people's stories interconnect simply because they were all in the same place going to the same destination.
4. We have an out-of-the-way island that makes hope of rescue less likely. This makes group dynamics needed for survival more important.
5. We have unknown elements about the island that generates mystery and threats that the characters must deal with each week.
6. Most importantly, we have a diverse group of survivors with built-in group dynamics that cause conflict
7. Finally, we, the hapless fans, are 'told' that a spanish comic book and Watership Down really means something - I hope there are multiple hemorrhages during their fits of laughter...or, at least a good stomach ache or two.
The combination of these simple (by themselves) concepts provides the framework for an endless variety of interesting/interlocking episodes that will 'suck' us into the consciousness-reducing vortex demanded by the League of Devious Writerhood.
...Momma don't let your babies grow up to be writers... :angel:
I used to have a life before this damn show! :lol2: