|
There's another word we've been dancing around that (I think) we now understand we must apply to Lost:
Allegory.
Like the original The Prisoner, like Star Trek, like The Twilight Zone, Lost has presented us with a mythical "mysterious deserted island" setting in order to tell us morality tales. Sure, Lost didn't look like an allegory up-close. But when you step back and examine the elements of the series, and devices like mysterious Others, smoke monsters, time-travel, pseudo-science and magic, you can see it. In fact, it's hard to imagine it as anything else.
In that light, debating the unanswered mysteries of the island makes as much sense as arguing about what The Prisoner's "Rover" was, or why aliens on Star Trek who'd never been exposed to each other before could meet for the first time and speak English.
So, maybe the point of any new sequels to Lost could only be to tell more morality tales, either of one of the characters that may have been neglected by the ending, or of another new character that we were never exposed to, but whose experiences on the island tell another important story.
|