Confused by the 'Lost' premiere? Never fear! Damon and Carlton explain a few things about the start of Season 6 (SPOILERS AHEAD)

by Jeff Jensen

Warning, SPOILERS ahead. If you haven’t seen the season premiere of Lost yet, you might not want to continue past the jump yet. Lost fans who have now seen the premiere can read ahead for some explanation from Carlton Cuse and Damon Lindelof. (Comments are likely to be full of spoilers also, you’ve been warned again.)

Once upon a time in Germany, a very smart and spiritual man tried to answer a very tricky and troubling question. In a world created by an allegedly benevolent and omnipotent God, why the heck is there suffering and evil? In the world of philosophy, this field of inquiry is called Theodicy, generally defined as an attempt to understand and justify the behavior of God. The genius German dude thought long and hard about this “problem of evil” question and came up with an answer that was unusually heady for the time. He said that despite the existence of evil, this world is actually “the best of all possible worlds,” as if our universe is the least offensive of countless alternatives, or even a pastiche comprised of pieces from the best parts of all. Wild.

Over the next 300 years, physicists, philosophers, and science fiction writers have blown out Gottfried Leibniz’s “possible worlds” concept in many different radical, challenging directions to serve all sorts of scientific and intellectual purposes, their various nuanced permutations producing a slough of different, seemingly synonymous yet not necessarily equal terms. Parallel worlds. Many worlds. Alternate realities. Mirror realities. Modal realities. Pocket universes. Bubble universes. And my favorite, “Island universes,” because it reminds me of a TV show I’m supposedly writing about, one that has referenced perhaps the foremost philosopher in this field, David Lewis.

Today, there are eggheads who believe that these “island universes” or whatnot are real — that they exist somewhere, as real and concrete as “our world,” inhabited by variations of ourselves. Naturally, this assertion has invited intense debate. Where are these worlds? Can we find them? If so, can we access them? Communicate with them? Visit them? Is there one “official world” and all the others of deviations? Did all these worlds pop into being at the same time, or do we continually create new worlds with every choice and non-choice? If so, do the other versions of you that exist across the multiverse of worlds create new worlds with their choices and non-choices, too? And who are these other “yous,” anyway? Are you separate, unique individuals? Do you share consciousness and/or a soul? Are you and your other yous destined to reach similar fates, played out through different events or circumstances? Are you and your other yous unique entities with unique destinies? Yes? No? Who knows? What does any of this Fringe-sounding s— have anything to do with Lost?!?!

Maybe everything. Maybe… nothing! Maybe something somewhere in the middle. What’s definitely for certain is this: If you’ve seen the season premiere of Lost (final SPOILER ALERT now!), you now know the hush-hush new storytelling device for the final season is this whole notion of parallel worlds. We were presented with two of them: one in which Oceanic 815 never crashed; and another that keeps continuity with the past five years of Lost having all the characters trapped in the Dharma Initiative past magically uploaded to the Island present of 2007 where the Jacob-Fake Locke-Ben drama is all going down. I’ll have a lot more to say on this tomorrow AM in my recap. But before then, I bring you news from two guys who you probably MOST want to hear from right now: Lost exec producers Carlton Cuse and Damon Lindelof. My “Totally Lost” partner Dan Snierson and I sat down with them to talk about the year’s”flash-sideways” storytelling device. Jokes Damon Lindelof: “You [had] all these fundamental mysteries going into season 6. What’s the Monster? What’s the Island? Why is Richard Alpert not able to age? But here’s this new mystery. How dare they! How dare they present us with a new mystery at this late stage in the game!”

Fortunately, here are the producers to offer some assurance of answers and provide some helpful context for season 6.

EW: The whole idea of flash-sideways and the plan to use season 6 to show us a world where Oceanic 815 never crashed — how long has that been in the works? Why did you want to do it?
DAMON LINDELOF: It’s been in play for at least a couple of years. We knew that the ending of the time travel season was going to be an attempt to reboot. And as a result, we [knew] the audience was going to come out of the “do-over moment” thinking we were either going start over or just say it didn’t work and continue on. [We thought] wouldn’t it be great if we did both? That was the origin of the story.
CARLTON CUSE: We thought just doing one [of those options] would inherently not be satisfying. Since the very beginning of the show, characters started crossing through each other’s stories. Part of our desire [in season 6] is to show that there’s still this kind of weave, that these characters still would have impacted each other’s lives even without the event of crashing on the Island. Obviously, the big question of the season is going to be: How do these [two timelines] reconcile? However, for the fans who have not watched the show closely, that’s an intact narrative. You can just watch the flash sideways — they stand alone all by themselves. For the fans who are more deeply embedded in the show, you can watch those flash sideways, compare them to what transpired in the flashbacks and go, “Oh, that’s an interesting difference.”
LINDELOF: Right out of the gate, in the first five minutes of the premiere, you get hit over the head with two things that you’re not expecting. The first is that Desmond is on the plane. The second thing that we do is we drop out of the plane and we go below the water and we see that the Island is submerged. What we’re trying to do there is basically say to you, “God bless the survivors of Oceanic 815, because they’re so self-centered, they thought the only effect [of detonating the bomb] was going to be that their plane never crashes.” But they don’t stop to think, “If we do this in 1977, what else is going to affected by this?” So that their entire lives can be changed radically. In fact, it would appear that they’ve sunken the Island. That’s our way of saying, “Keep your eyes peeled for the differences that you’re not expecting.” Some of these characters were still in Australia, but some weren’t. Shannon’s not there. Boone actually says that he tried to get her back. There are all sorts of other people that we don’t see. Where’s Libby? Where’s Ana Lucia? Where’s Eko? These are all the things that you’re supposed to be thinking about. When our characters posited the “What if?” scenario, they neglected to think about what the other effects of potentially changing time might be and we’re embracing those things.

That said, are you saying definitively that detonating Jughead was the event that created this new timeline? Or is that a mystery which the season 6 story will reveal?
LINDELOF: It’s a mystery. A big one.
CUSE: We did have some concern that it might be confusing kind of going into the season. To clear that up a little bit: The archetypes of the characters are the same and that’s the most significant thing. Kate is still a fugitive. If you were to look at the Comic-Con video, for instance, that now comes into play. There was a different scenario in that story. She basically blew up an apprentice plumber as opposed to killing her biological father/stepfather. Those kind of differences exist, but who the characters fundamentally are is the same. If it becomes too confusing for you, you can just follow the flash sideways for what they are. It’s not as though there’s narrative that hangs on the fact that you need to know that this event was different in that world, in the flashback world versus the sideways world. That’s not critical for being able to process the narrative this season.

Is there a relationship between Island reality and sideways reality? Will they run parallel for the remainder of the season? Will they fuse together? Might one fade away?
LINDELOF: For us, the big risk that we’re taking in the final season of the show is basically this very question. [Lindelof then explains the show has replaced the trademark “whoosh!” sound effect marking the segue between Island present story and flashbacks or flash-forwards, thus calling conspicuous attention to the relationship between the Island world and the Sideways world.] This is the critical mystery of the season, which is, “What is the relationship between these two shows?” And we don’t use the phrase “alternate reality,” because to call one of them an “alternate reality” is to infer that one of them isn’t real, or one of them is real and the other is the alternate to being real.
CUSE: But the questions you’re asking are exactly the right questions. What are we to make of the fact that they’re showing us two different timelines? Are they going to resolve? Are they going to connect? Are they going to co-exist in parallel fashion? Are they going to cross? Do they intersect? Does one prove to be viable and the other one not? I think those are all the kind of speculations that are the right speculations to be having at this point in the season.
LINDELOF: But it is going to require patience. We’ve taught the audience how to be patient thus far, so while they’re getting a lot of mythological answers on the island early in the season, this idea of what is the relationship between the two [worlds] is a little bit more of a slow burn.

Did Jughead really sink the Island? And is it possible that the Sideways characters are now caught in a time loop in which they might have to go back in time and fulfill the obligation to continuity by detonating the bomb?
LINDELOF: These questions will be dealt with on the show. Should you infer that the detonation of Jughead is what sunk the island? Who knows? But there’s the Foot. What do you get when you see that shot? It looks like New Otherton got built. These little clues [might help you] extrapolate when the Island may have sunk. Start to think about it. A couple of episodes down the road, some of the characters might even discuss it. We will say this: season 6 is not about time travel. It’s about the implications, the aftermath, and the causality of trying to change the past. But the idea of continuing to do paradoxical storytelling is not what we’re interested in this year.

There you go. Some food for thought. Dan and I will have more Messrs. Cuse and Lindelof later this week at EW.com and in the new issue of Entertainment Weekly, on sale Friday. If you’ve made it this far into this post, stay tuned: There’s a monstrously epic recap coming your way tomorrow. Until then, please: Get talking! What did you love? What did you hate? What left you totally baffled? What theories do you have to explain it all? The floor is yours!

Photo Credit: Mario Perez/ABC

Avatar -- Film Review (Slight Spoilers)

From: http://www.hollywoodreporter.com/

By Kirk Honeycutt

"Avatar"

Bottom Line: A titanic entertainment -- movie magic is back!

A dozen years later, James Cameron has proven his point: He is king of the world.

As commander-in-chief of an army of visual-effects technicians, creature designers, motion-capture mavens, stunt performers, dancers, actors and music and sound magicians, he brings science-fiction movies into the 21st century with the jaw-dropping wonder that is "Avatar." And he did it almost from scratch.

There is no underlying novel or myth to generate his story. He certainly draws deeply on Westerns, going back to "The Vanishing American" and, in particular, "Dances With Wolves." And the American tragedy in Vietnam informs much of his story. But then all great stories build on the past ( "Avatar" premiered Thursday in London).

After writing this story many years ago, he discovered that the technology he needed to make it happen did not exist. So, he went out and created it in collaboration with the best effects minds in the business. This is motion capture brought to a new high where every detail of the actors' performances gets preserved in the final CG character as they appear on the screen. Yes, those eyes are no longer dead holes but big and expressive, almost dominating the wide and long alien faces.

The movie is 161 minutes and flies by in a rush. Repeat business? You bet. "Titanic"-level business? That level may never be reached again, but Fox will see more than enough grosses worldwide to cover its bet on Cameron.

But let's cut to the chase: A fully believable, flesh-and-blood (albeit not human flesh and blood) romance is the beating heart of "Avatar." Cameron has never made a movie just to show off visual pyrotechnics: Every bit of technology in "Avatar" serves the greater purpose of a deeply felt love story (watch the trailer here).

The story takes place in 2154, three decades after a multinational corporation has established a mining colony on Pandora, a planet light years from Earth. A toxic environment and hostile natives -- one corporate apparatchik calls the locals "blue monkeys" -- forces the conglom to engage with Pandora by proxy. Humans dwell in oxygen-drenched cocoons but move out into mines or to confront the planet's hostile creatures in hugely fortified armor and robotics or -- as avatars.

The protagonist, Jake Sully (Sam Worthington), is a crippled former Marine who takes his late twin brother's place in the avatar program, a sort of bone thrown to the scientific community by the corporation in hopes that the study of Pandora and its population might create a more peaceful planet.

Without any training, Jake suddenly must learn how to link his consciousness to an avatar, a remotely controlled biological body that mixes human DNA with that of the native population, the Na'vi. Since he is incautious and overly curious, he immediately rushes into the fresh air -- to a native -- to throw open Pandora's many boxes.

What a glory Cameron has created for Jake to romp in, all in a crisp 3D realism. It's every fairy tale about flying dragons, magic plants, weirdly hypnotic creepy-crawlies and feral dogs rolled up into a rain forest with a highly advanced spiritual design. It seems -- although the scientists led by Sigourney Weaver's top doc have barely scratched the surface -- a flow of energy ripples through the roots of trees and the spores of the plants, which the Na'vi know how to tap into.

The center of life is a holy tree where tribal memories and the wisdom of their ancestors is theirs for the asking. This is what the humans want to strip mine.

Jake manages to get taken in by one tribe where a powerful, Amazonian named Neytiri (Zoe Saldana) takes him under her wing to teach him how to live in the forest, speak the language and honor the traditions of nature. Yes, they fall in love but Cameron has never been a sentimentalist: He makes it tough on his love birds.

They must overcome obstacles and learn each other's heart. The Na'vi have a saying, "I see you," which goes beyond the visual. It means I see into you and know your heart.

In his months with the Na'vi, Jake experiences their life as the "true world" and that inside his crippled body locked in a coffin-like transponding device, where he can control his avatar, is as the "dream." The switch to the other side is gradual for his body remains with the human colony while his consciousness is sometimes elsewhere.

He provides solid intelligence about the Na'vi defensive capabilities to Col. Miles Quaritch (Stephen Lang), the ramrod head of security for the mining consortium and the movie's villain. But as Jake comes to see things through Neytiri's eyes, he hopes to establish enough trust between the humans and the natives to negotiate a peace. But the corporation wants the land the Na'vi occupy for its valuable raw material so the Colonel sees no purpose in this.

The battle for Pandora occupies much of the final third of the film. The planet's animal life -- the creatures of the ground and air -- give battle along with the Na'vi, but they come up against projectiles, bombs and armor that seemingly will be their ruin.

As with everything in "Avatar," Cameron has coolly thought things through. With every visual tool he can muster, he takes viewers through the battle like a master tactician, demonstrating how every turn in the fight, every valiant death or cowardly act, changes its course. The screen is alive with more action and the soundtrack pops with more robust music than any dozen sci-fi shoot-'em-ups you care to mention (watch the "Avatar" video game trailer here).

In years of development and four years of production no detail in the pic is unimportant. Cameron's collaborators excel beginning with the actors. Whether in human shape or as natives, they all bring terrific vitality to their roles.

Mauro Fiore's cinematography is dazzling as it melts all the visual elements into a science-fiction whole. You believe in Pandora. Rick Carter and Robert Stromberg's design brings Cameron's screenplay to life with disarming ease.

James Horner's score never intrudes but subtlety eggs the action on while the editing attributed to Cameron, Stephen Rivkin and John Refoua maintains a breathless pace that exhilarates rather than fatigues. Not a minute is wasted; there is no down time.

The only question is: How will Cameron ever top this?

Opens: Dec. 18 (20th Century Fox)
Production companies: 20th Century Fox in association with Dune Entertainment and Ingenious Film Partners
Cast: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez, Giovanni Ribisi, Joel David Moore, CCH Pounder, Wes Studi, Laz Alonso
Director/screenwriter: James Cameron
Producers: James Cameron. Jon Landau
Executive producers: Colin Wilson, Laeta Kalogridis
Director of photography: Mauro Fiore
Production designers: Rick Carter, Robert Stromberg
Music: James Horner
Senior visual effects supervisor: Joe Letteri
Costume designers: Mayes C. Rubeo, Deborah L. Scott
Editors: Stephen Rivkin, John Refoua, James Cameron
Rated PG-13, 161 minutes

10 Different Timelines From The Terminator Universe

By Charlie Jane Anders

Are you confused by all the alternate timelines in the Terminator franchise? So are we. That's why we created a list of every timeline, and ran it past Sarah Connor Chronicles producer Josh Friedman. Spoilers...

1) The original (?) timeline: Sarah Connor conceives John Connor with some random guy. (All we hear about him is that "He dies, even before the war." Presumably it's not Kyle Reese, since time-travel always seems to create an alternate timeline.) John Connor's resistance is on the verge of defeating Skynet in 2029. (Reese says, "The defensive grid was smashed. We'd taken the mainframes. We'd won. Taking out Connor then would make no difference. Skynet had to wipe out his entire existence." Date of Judgment Day: August 29, 1997.

2) A T-800 and Kyle Reese both travel back in time from 2029. Kyle Reese fathers John Connor. Date of Judgment Day: still August 29, 1997.

3) A "scrubbed" T-800 and an "experimental prototype" T-1000 travel back from 2029 to 1995. Sarah Connor destroys Cyberdyne systems and apparently stops Skynet. (In a deleted scene from Terminator 2, we see that Sarah lived to an old age and John became a Senator.) But we learn in Terminator 3 that Judgment Day was only delayed, until July 24, 2004. According to T3, Sarah Connor dies of cancer in 1997. John Connor dies in 2032, at the hands of another T-800.

4) The T-800 which killed John Connor is "scrubbed" and sent back in time to protect him, and a T-X is sent back to kill him and his future lieutenants. What changes as a result of this time travel is unclear: the T-800 ensures John Connor and Kate Brewster survive Judgment Day, but they were presumably going to survive it anyway. John Connor now knows that this T-800 will kill him in 2032, meaning it probably won't. And the younger John Connor has now encountered a T-X. This timeline leads into Terminator Salvation.

5) Sarah Connor doesn't die of cancer in 1997. Instead, she's still alive in 1999, when a T-888 (Cromartie) comes back to kill John, and another one (Cameron) comes back to protect him. The Terminator known as Cameron jumps the Connors forward in time to 2007, and Cameron informs Sarah she would have died of cancer in 2005. Judgment Day: unknown, but later than 2010, because the Terminator known as Myron Stark is sent to kill the governor of California in 2010.

6) Derek Reese, brother of Kyle, travels back in time with a whole squad of resistance fighters. They seem to make a number of changes in the timeline, but most notably Derek kills Andy Goode, creator of an A.I. that might become Skynet. From the glimpses of Derek's version of 2029, Skynet may no longer be on the "verge of defeat" as it was in the original timeline. Judgment Day is now April 21, 2011.

7) Various other Terminators travel back in time, including Carter, who guards a warehouse full of coltan, Vick, who marries an L.A. city planner, and Myron Stark, who travels back to the 1920s by mistake. There's no telling what changes to the timeline these Terminators, in particular, make.

8) A T-1001 travels back in time to around 2005, and kills Catherine Weaver, the CEO of Zeira Corp, and her husband. It then impersonates Catherine Weaver. What changes does she make to the timeline? It's not entirely clear yet. She buys Andy Goode's A.I., "The Turk," preventing it from falling into the hands of the Connors. She saves a nuclear power plant that's crucial to Skynet's future operations, and later she destroys an entire factory that's creating prototype Hunter-Killers. She seems to be nurturing the "Turk" into becoming a more compassionate version of Skynet, but her real agenda remains unclear. Judgment Day: unknown.

9) Jesse Flores and Riley Dawson travel back from the future (possibly later than 2029.) The future Jesse comes from is much darker than the one Derek comes from, perhaps as a result of either Derek's actions, or Cameron's. We know that Jesse's future is - at least partly - one Derek helped to create, because Jesse doesn't know "Billy Wisher," aka Andy Goode, the guy whom Derek killed in 2007. In Jesse's timeline, John Connor's resistance is heavily dependent on scrubbed Terminators, to the point where there's "metal everywhere these days. Connor's got one in every major base." Sometimes the scrubbed Terminators go wrong and kill people. And the Terminators seem to be running Connor's war effort to a large extent, keeping secrets from Connor's human lieutenants. Skynet's human agents (like Charles Fisher) commonly torture humans, like Derek Reese. And there seems to be another "faction" of Terminators, which aren't on Skynet's side but also aren't on the humans'. Jesse won't say when her Judgment Day happens, but it's implied to be sooner than April 2011, because Jesse is certain it can't be prevented.

10) In Terminator Salvation, it's 2018, and somehow Skynet is already developing the T-800, which isn't supposed to exist until 2029. And in the trailer, John Connor says "This is not the future my mother warned me about. Something has changed") According to John Connor, Skynet's defeat is even less certain than ever in this new altered timeline: "I don't know if we can win this war." It's not clear what's changed the timeline from the T2 version, but hopefully the film will explain a bit. We meet Marcus Wright, an advanced model of Terminator who has a great degree of self-awareness and believes he's human until he sees his own metal body. Marcus has the memories (and appearance, presumably) of a man who was executed in 2003, and that's his last memory before he turns up in 2018. (Rumor has it Marcus' body is donated, after his death, to something called "Project Angel," which turns him into a quasi-Terminator.) It's implied that Marcus' arrival has something to do with changing the timeline. Judgment Day: still July 24, 2004, since this movie follows on from Terminator 3.

So we showed this list to Josh Friedman, producer and creator of Terminator: The Sarah Connor Chronicles, and here's what he had to say:

Jesus Christ. I want to drink whatever you're drinking. Obviously (or maybe not obviously but it should be said) TSCC never attempted to mesh with the movies, maybe in the spirit of T/1/2 but certainly not T/3/4. We've gone off the temporal reservation lately but to some degree that IS canon: almost all expressions of the franchise have massaged dates/ages to their convenience, some more than others. The most controversial idea you have in here is the first one: the "pre-Kyle" Johnfather. I believe the Terminator mythology supports that concept but many die hards just embrace the loop-ness of John sending back his dad to impregnate his mom. Of course, a pre-Kyle Johnfather calls into question genetic differences in the two Johns and whether or not Sarah's influence is the key to John v.2. If you go with the pre-Kyle Johnfather theory, the first John managed to become John Connor without her help.

Or did he?

I've mulled it over some more, and I still believe there has to be a timeline where someone other than Kyle Reese is John Connor's father. When The Terminator was a standalone movie, you could read it either way. Either there's a circular causality, where Kyle is "always" John Connor's father, or Kyle's time travel creates a new branch. But Terminator 2 pretty much establishes that time travel always creates new branches, because there's no fate but what we make. And the Connors, with their friendly T-800, are able to stop or at least delay Skynet. But of course, your mileage, even backwards and forwards through time, may vary.

Sawyer Is Right About Jack, After All (Spoilers in this article if you haven't seen the latest episode of Lost.)

By Charlie Jane Anders

Watching last night's Lost, I realized for the first time just how much I love this new version of Sawyer. I'd way rather follow him than Jack or Locke. Spoilers and snark ahead.

First of all, I have to apologize for the lack of a Lynn Peril recap this week. She's traveling, so I'm stepping in as your Lost recapper for once. I don't quite have Lynn's encyclopedic Lost knowledge, so you'll have to bear with me if I get something wrong.

So the scene I posted above, featuring Jack and Sawyer, really crystalized something about both those characters for me. Jack spends the whole episode, in "Namaste," visibly sulking because he's not the center of attention. He's scandalized that someone with his medical training and amazing leadership skills has been assigned to workman duty. He's annoyed that Sawyer is in charge and knows more than he does.

I think Jack expected to come back to the island and be greeted as a savior, possibly with some kind of chorus line. He'd gotten it in his head, after everything Locke told him, that his return was needed to save everybody, and it played into his giant messiah complex. (Although, since Jack's dad appears to be God, maybe he's not that far off. Just kidding. I think.) Instead, Jack gets back, and all he is, for now, is a great big complication in Sawyer's orderly life.

On the other hand, if Sawyer is the guy who figures out all the angles and knows how to make everything work, what exactly is he planning to do about the giant massacre on the horizon? Okay, sure, he has a few years left before everybody in the Dharma Initiative gets eradicated. But Sawyer's bought into Faraday's theory that you can't change history unless your name is Desmond. So does Sawyer have some kind of escape route planned?

The character I felt really bad for last night was actually Juliet. She's hosed, she knows she's hosed, and she just holds it together. The fact that Sawyer didn't tell her Jack and Kate were back, and the way Sawyer looks at Kate, pretty much seal her fate. Unlike my colleague Meredith, I've actually gotten to like Juliet a lot recently, and I think she's one of the most heroic characters on the show because she does what she has to, without being a drama queen (or even a Dharma queen) about it. She's actually really perfect for this new version of Sawyer, who takes responsibility and thinks things through. But apparently the show's producers think we're only interested in the boring old Jack/Kate/Sawyer triangle - I'm one of those who think Jack and Kate deserve each other. Yes, I'm a Jeweler.

Other random stuff:

Hurley, as usual, gets the best line of the night, where he's like, "What if they ask us who's president in 1977?"

How many times can Ben get hit in the head before he starts using Yoda grammar or having a weird twitch?

Frank's right that it's silly to whack Ben in the head but then take Ben's advice. And Ben's right that Frank should have stayed with his passengers. Speaking of which, now that nobody we care about is among those airline passengers, are we going to see them again?

Where the heck is Locke? (Update: Several commenters have pointed out this episode takes place before Locke comes back from the dead at the end of "Life And Death Of Jeremy Bentham.")

And did I miss the explanation of what happened to Faraday? I'm guessing it has to do with his freakout around young Charlotte.

This is the first time we've seen Pierre Chang/Marvin Candle since the season opener, right? What's he been up to all this time? When are we going to see more of the chaos at the Orchid Station that we glimpsed in that opening episode? (And which apparently involved Daniel?)

So what did you guys think?