“What Kate Did”
Originally aired November 30, 2005
“When the Lamb opened the third seal, I heard the third living creature say, “Come!” I looked, and there before me was a black horse!” Revelations 6:5
Now that the Olympics are over, and the kids are back in school and a tiny sliver of normalcy has returned to my life, I can start thinking about Lost again. So, sincerest apologies about being MIA for so long — it’s not that I don’t love you or Lost, I just was a little overextended. But this isn’t about me — it’s about Kate! And what she did! And how she did WRONG. So, so wrong.
Kate is hanging out on the porch of a double-wide, playing with a Zippo when a truck pulls up and a drunk dude stumbles out. You know, typical Saturday night. Kate helps Drunky into the trailer, and upon entering, he notes the strange smell inside. Kate jokes that it’s his breath, and dumps him into his bed. Drunky mutters something about Kate being beautiful, as she’s taking off his boots, and she shoots him a glare that could explode a house. Or something. He asks if she’s going to take his pants off, and that’s enough Drunky for Kate! She heads out, hops on her motorcycle cuz’ she’s awesome like that, takes one last look at Drunky’s double-wide and then drives away. Just as the trailer explodes.
Like I said, typical Saturday night.
Kate next heads to a diner where her momma Diane works. Kate asks for a beer, Diane asks for some ID, and Kate reveals that she’s 24 (for what it’s worth). Kate then asks her mother about her wrist, and Diane is all blah blah banged it on a kitchen counter blah. And Kate’s like WHATEVER. And Diane says something about having made her bed, and Kate’s like ALL YOUR BEDS BELONGS TO US and gives her an insurance policy that she took out in Diane’s name on the double-wide that she ‘spolded. And then she’s like I WAS NEVER HERE, as Diane calls after her, asking what Kate did. You’ll find out soon enough, honey, and you won’t be happy.
Bus station: Kate asks for a ticket to Tallahassee when Mr. Nosy-Pants behind her starts chatting her up about why she’s going to Tallahassee (Fair question, in all seriousness) and when Kate turns around! Lo and behold! It’s Ed Mars, U.S. Marshal! And he’s got dudes with him! RUN, KATE! Kate tries to do just that, but it doesn’t really work out for her, and Mars arrests her. And tells her that her momma gave her up. OUCH!
Lost note: What is the writers’ deal with Tallahassee? First Sawyer picks up some sort of STD in Tallahassee, as he suggests in “Lockdown,” in “Not in Portland,” Juliet apparently got her B.S. at Florida State University which is in Tallahassee; and Cooper claims he was driving on I-10 when he was in an accident and then brought to the island — Benry refers to him as the “Man from Tallahassee,” so presumably he was on Tallahassee’s stretch of our beloved I-10. So, what up with Tallahassee? Methinks the writers just like the word and what’s not to like? It’s a fun word!), but it is worth noting that the location of Tallahassee has an ancient past.
The name “Tallahassee” is a Muskogean Indian word often translated as “old fields. This likely stems from the Creek (later called Seminole) Indians who migrated from Georgia and Alabama to this region in the late 18th and early 19th centuries. Upon arrival, they found large areas of cleared land previously occupied by the Apalachee tribe. Earlier, the Mississippian Indians built mounds near Lake Jackson around A.D. 1200, which survive today in the Lake Jackson Archaeological State Park.
So, Tallahassee is, like the island, a place where different groups of people have settled and resettled for a long period of time. I am probably overthinking it (Me? Overthink something? Heavens, no!) but it’s interesting, so there.
Mars decides, for reasons unclear and improbable, to drive Kate to the arraignment himself, alone, and lets her sit in the front seat. I’m sorry, what? BUT WHATEVER. Mars goes on to ask Kate why she killed her step-daddy now … he can’t figure it out. She’s a good smart kid, so why kill her step-daddy in such an amateurish way?
Mars’ version of events:
White trash mom divorces dad, starts up with some guy who’s a drinker. He knocks her around a little bit, she marries him, because, you know, that’s what happens. And then this drunk, this Wayne, he moves into your house, and you get to lay there every night and listen to him doing your mom right there in daddy’s old bedroom. And even that wouldn’t be so bad if he didn’t beat her up all the time. But she loves him. She defends him. If that don’t make a person want to kill somebody I don’t know what does. But the question is now, why now? Why after all these years did you just decide to blow poor Wayne up? He come knocking on your door late at night?
But Kate swears that Drunky didn’t touch her, and that’s when a big ol’ black horse appears, Mars crashes into it, Kate uses the opportunity to kick poor Mars out of his own car and drive away. Oh, Mars. You kinda had that coming.
Lost note: And so, not only do we have a car crash that alters someone’s fate — not unlike the car crash that sends Locke’s mother into early labor; or Michael’s car crash that hospitalizes him before he can take Walt back; not to mention the car crash in which Michael doesn’t die; Cooper’s aforementioned car crash; and Kate’s car crash when the marshal finally captures her again, HEY! They’re all “Collision”s! — but, like the plane crash, an unexpected crash grants Kate her freedom from the marshal …
Sometime later (the next morning? three weeks later? two years later? WHO KNOWS!) Kate stops by to visit Sam Austen, her daddy. Sam is Sergeant Major in the U.S. Army, and is, at the moment, working the recruitment desk. Kate enters his office, assures Sergeant Major Daddy that none of the authorities know she’s here, and then demands to know why Sergeant Major Daddy didn’t tell her. Tell her what, you ask? Oh, just the inconvenient little fact that maybe Sergeant Major Daddy happened to be in Korea when she was conceived and stuff. So. Why didn’t Sergeant Major Daddy tell Kate that Drunky was her father (wait — how’d she jump to that conclusion? But, um, OK.)
And Sergeant Major Daddy? Replies that he knew Kate would kill Drunky. Sergeant Major Daddy wanted to take Kate with him, but her momma wouldn’t let him. So? Kate continues, Why didn’t you kill him? And Sergeant Major Daddy looks at her with incredulousness and replies that he doesn’t have murder in his heart. OH NO HE DI’INT. He informs Kate that he’s going to call the cops, she asks for an hour jump on them, and Sergeant Major Daddy tells her that he will — but with his eyes — so it’s more poignant or something.
Bye, Kate! See ya on the island!
Lost note: Right, so you saw Sayid on the television set in the background, right? Being captured by the U.S. Army? I love with they have the characters cross paths in the past like this.
What it all means? Their paths were meant to cross? They are tied together by destiny? Some unseen force has predetermined that they would impact upon one another’s lives? Life is a series of coincidences? The writers think it’s cool? I don’t know. But considering the way events unfold over the course of the rest of the season: Sayid is captured by Kate’s father and handed over to the CIA, the agent who just happens to be Kelvin, Desmond’s former hatch mate … well, let’s just say that I think Mr. Eko has it all wrong. We shouldn’t mistake fate for mere coincidences.
On the island, it’s morning. And the recently reunited Jin and Sun have apparently made the best of the previous night. Hey! Thumbs up! mimes Hurley. Which I guess is cute, but somehow comes across to me a little creepy? Maybe? No? OK, cute it is.
But as cute Hurley is? Sayid? Digging Shannon’s grave? Less cute. Actually, not cute at all.
And as we watch Sayid dig that grave, Jack’s voice is momentarily heard saying “Sorry, man, I know this hurts.” (Which I think is SUPER INTERESTING, almost like Jack was speaking to Sayid from another place, another time, but it’s just done for effect, so whatever …) but it’s not Sayid he’s talking to, but …
Where is she? WHERE IS SHE? the hot — literally feverishly hot Sawyer asks about Kate, as Jack tends to him in the hatch. Jack tells him that Kate’s out gathering Sawyer food, which was the only way Jack could get her away from Sawyer for a minute. And then Sawyer says that he loves her and Jack haz a sad.
Kate, in the meantime, is, indeed fetching food for Sawyer. Although, I would think some DHARMA-brand Ritz crackers might be easier on Sawyer than a bunch of fruit, but I’m no doctor. Kate sees a horse. It’s black. It runs away.
Kate returns to the hatch and is all spazzy, and Jack’s all Yo, girl, what up? Kate claims to just be tired, and then sends Jack down to Shannon’s funeral with the promise that she’ll take care of Sawyer.
So Jack heads to the beach to join everyone else for Shannon’s funeral — everyone but Ana Lucia who tactfully chooses to sit this one out (good call, methinks) and Sayid notes that he never would have met Shannon if it hadn’t been for the crash, and he loved her, and then he stomps off because he can’t handle the emotion of it all. Jack hopes that Shannon rests in peace and tosses some dirt on her grave. Others follow suit. And that’s Shannon. The end.
But back to the hatch: to take care of Sawyer Kate’ll need a little Patsy Cline! After all, what else would she put on? As she mashes up some fruit for unconscious Sawyer, she tells him that she saw a horse — which is what happens when you don’t get enough sleep. Sawyer begins to mutter something, as Kate leans in to hear him better, Sawyer grabs her by the throat and starts screaming “WHY DID YOU KILL ME?”
Following the funeral, Jack and Locke return to the hatch with the alarm blaring, Sawyer face down on the floor, and Kate nowhere in sight. Wow! Well done, Kate! Jack and Locke take care of Sawyer and the timer respectively, and Locke’s like What the Hey? And Jack’s all I DON’T KNOW. GAH.
Kate, in the meantime, is wandering around the jungle where she encounters Charlie. Charlie natters on about the funeral, and how some of the “new people” came to the funeral, and how they seem to have gone all Lord of the Flies on the other side of the island. But Kate isn’t listening, and instead mentions her horse. Charlie notes the polar bears and monsters but notes he hasn’t seen any horses BECAUSE THAT WOULD BE WEIRD. Kate walks away.
But Jack catches up with Charlie who points him in Kate’s direction. And is there a lot of “Hey, you go over there!” “I’m going to go over here.” “She went over there!” in this episode, or is that just my imagination?
Jack finds Kate and demands to know what the heck happened, and Kate is all petulant and channels my 7-year-old-going-on-13 by spitting back at Jack that she’s sorry. Jack’s not buying it, and she exclaims that she’s sorry that she’s not as good as Jack — that she’s not as perfect. And then she turns all wack-a-doodle and begins sobbing saying that the island is crazy and taking her along with it. And then they kiss. Jaters rejoice! But not for long, because Kate steps back and gives Jack a weird look and then runs away. RUN AWAY, KATE!
Kate heads to Shannon’s grave, which is where Sayid finds her (TRY NOT TO KISS SAYID, KATE. HE’S NOT READY.) Kate apologizes for missing the funeral, explains that she thinks she is going crazy and then asks Sayid if he believes in ghosts, which, you know, considering the timing and circumstances ISN’T EXACTLY AN APPROPRIATE QUESTION RIGHT NOW, KATE. Jeez. But Sayid responds that he saw Walt right before Shannon was shot, and asks if that makes him crazy. Well, I don’t know, Sayid. Does it?
Jack, in the meantime, heads off to chop some wood. Hurley finds him there and accuses him of transferring his anger towards Sawyer … onto what? The logs? OK.
Kate heads back to the hatch where Sun is taking care of Sawyer and relieves Sun of duty. “I’m going to go over there!” says Sun.
Kate cautiously heads over to Sawyer, and who can blame her? No one likes being strangled, particularly. And she asks Sawyer/Drunky whether or not he can hear her. She tells Sawyer/Drunky that she’s probably crazy, but he asked her earlier why she killed him. And she goes on to explain that it wasn’t because he drove Sergeant Major Daddy away, or because of the way Drunky looked at her, or even because Drunky beat her momma. Kate killed Drunky because she hated that he was a part of her, and as a result, she’d never be good. And now, every time she looks at Sawyer and feels something for him, she sees Drunky and she hates it.
Sawyer then wakes up and mocks her.
Sawyer then, reasonably wonders if he’s in a bunk bed, and assumes that they’ve been rescued, even after Kate tells him otherwise. So, she hauls him out into the jungle just to prove him wrong, which seems pretty drastic, and somehow I don’t think Dr. Jack would approve, but whatever. And as they banter out in the jungle for no discernible reason, Sawyer suddenly sees something and notes that maybe he should go back inside. And lo and behold, it’s the black horse! Kate goes over and pets the horse which tolerates it for a second before running away. Bye horse!
On the beach, Jack brings Ana Lucia the drink that they agreed to share back in the airport bar, and then Jack calls all women crazy.
Nice, Dr. Misogyny.
And back in the hatch while all this is happening, Locke is having his own adventures. First, he uses some bolt cutters to remove the handcuff from Jin’s wrist. Which, you know, is SYMBOLIC!
Then, Michael starts asking questions about the hatch — like what’s up with all the blast doors? And Locke’s all: What blast doors? And Michael’s like: THESE blast doors, you know the kind that lower down in the event of an explosion? Didn’t Desmond tell you what this whole thing is about? And Locke’s: like Err … no, but he left a movie! Wanna see? And Michael is all: Sure! And Mr. Eko, who apparently is lurking in the hallway, is like, Me too!
Locke shows them the filmstrip, and Michael is underwhelmed. He questions the whole pushing-the-button-every-two-hours protocol and is surprised that folks do it unquestioningly. But Locke argues that the filmstrip is pretty self-explanatory. But Michael is like all I heard was some mumbo-jumbo about electro-magnets and an incident. What about all the missing pieces? The splices? Locke argues that they aren’t important, and turns to Mr. Eko to get his opinion. But Chatty Cathy just gets up and wordlessly leaves the room.
Michael and Locke move on to the computer room, where Michael (bless his heart) still has questions — and isn’t it about time? I mean, yeah, Jack was initially doubtful, but it always felt more in opposition to Locke than in the whole hatch-thing itself, you know? At least Michael is asking some real questions instead of just shouting at Locke to not push the button.
ANYWAY. One of those questions is why can’t you just enter the numbers at any point, say at minute 107 or whatever. But Locke just says it doesn’t work that way. (Of course not.) You have to wait for the timer to count down to the 4-minute mark. (Of course you do.) Michael then asks if he can poke around with the computer, and Locke grants him permission.
Locke then heads towards the kitchen, where he finds Mr. Eko, returned from whereversville. Mr. Eko announces that he needs to show Locke something, but he needs to start at the very beginning (which is a very good place to start …). And then Mr. Eko tells Locke the biblical story of Josiah, or at least Mr. Eko’s version of the Josiah story:
Josiah was a good king way back in the day, and his people were all busy worshipping false gods and idols and all that good stuff that Yahweh tends to frown upon, and so Josiah was like “Dang. We have to spruce up the Temple. It’s looking like a frat house on a Sunday morning.” And so he sent his dude to the Treasury to collect money to pay workers to clean up the Temple. And his dude came back without any money, and Josiah was like “HEY? Where’s the loot?” But his dude said, yeah, we found a book instead, which doesn’t really answer the first question, but OK. And then Josiah’s dude gave him the book — the Book of Law, also known as The Old Testament. And with that book, Josiah rebuilt the Temple, not with the gold. The end. (But that still doesn’t really explain how they paid the workers. They did it for free? Also: Mr. Eko TOTALLY LEAVES OUT the awesome part where Josiah throws a bunch of pagan priests into fires while alive, and totally exhumes dead priests’ bones just so he can burn them, which sorta seems like overkill, in the most literal sense of the word.)
Then Mr. Eko pushes his bible across the table to Locke and explains that on the other side of the island, the Tailies found a hatch, too. And they found a book, too. And what is inside this book will be of great value to Locke. And Locke nearly rolls his eyeballs right out of his head, but decides to play along with Mr. Eko, and when he opens the Bible, what should be inside but a piece of film.
Oh, yeah, that’s right. It’s a missing piece of the Orientation film. Awesome.
So, Mr. Eko and Locke get to work splicing in the segment and Locke is all, “what are the chances?” Mr. Eko is all:
Film spliced together, the piece says:
When the alarm sounds, either you or your partner must input the code. It is highly recommended that you and your partner take alternating shifts. In this manner you will stay as fresh and alert [splice] utmost importance that when the alarm sounds the code be entered correctly, and in a timely fashion. Do not attempt to use the computer [splice] for anything else other than the entering of the code. This is its only function. The isolation that attends the duties associated with Station 3 may tempt you to try and utilize the computer for communication with the outside world. This is strictly forbidden. Attempting to use the computer in this manner will compromise the integrity of the project and worse, could lead to another incident. I repeat, do not use the computer for anything other than entering the code. Congratulations, until your replacements arrive, the future of the project is in your hands. On behalf of the DeGroots, Alvar Hanso and all of us at the DHARMA Initiative, thank you. Namaste. And good luck.
Cut to Michael who is busy messing with the computer, this wire here, that wire there and then Bing! Michael glances at the computer to find
(Michael) >: Hello?
(Computer) >: Who is this?
(Michael) >: This is Michael. Who is this?
(Computer) >: Dad?
Speaking of ponies … what up with Kate’s horse? This episode nagged at me when it aired for a number of reasons — but it boiled down to, I didn’t get the horse. Was it a manifestation of the smoke monster? Was it a vision — one that she shared with Sawyer and that she could touch? Was it even supposed to be the same horse? This is not an incidental question — after all, we saw Mikhail’s farm, stocked with other animals of the apocalypse, including the red heifer.
Why not the black horse? Were there red, white, and pale horses at one point, too? But, the question of it being one of the DHARMA FHARM’s horses emphasizes that it is, after all, just a horse. As Charlie points out, there are polar bears and monsters on the island, so why not a horse? In fact, it makes a heck of a lot more sense for a horse to be on the island than a hatch built sometime in the 70s with lava lamps and an Exercycle.
So, let’s talk about horses and their symbolic significance. Horses have long been linked to the rise of civilizations, dominance, and power. For the Celts and the Greco-Romans, horses were a symbol of war. In fact, each October, the Romans would sacrifice a horse to Mars, the god of War.
For Hindus, horses represented the cosmos. In many cultures, horses are associated with the four elements: earth, air, fire, and water, which may have something to do with the whole Four Horsemen of the Apocalypse thing, too.
Horses are associated with both light and darkness, life, and death. In fact, black horses often represent death (except, curiously, with our four horsemen, where the black horse represents famine. Go figure). Of course, a black horse fits right in on an island filled with white polar bears …
And very often, across many cultures, horses represent freedom. And in this episode, the horse certainly represents a kind of freedom for Kate. The horse’s first appearance literally grants her freedom from Mars. At least for a while.
And then there’s the horse on the island. As far as I can tell, the significance is that Sawyer sees it, too. Similar to the situation with Sayid and Shannon, Kate needs the validation from someone else that what she’s seeing is real. In both instances, the mutual experience of seeing what should be impossible occurs after a declaration of love. Granted, with Kate and Sawyer the declaration of love was a lot more circumspect than Sayid and Shannon’s, but the gist is the same. Sayid tells Shannon he loves her, and only after that does he see Walt. Sawyer (in a fever, and perhaps he wasn’t even talking about Kate, who knows) announces “I love her” and once they are outside, he sees the horse too. Neither Kate nor Shannon are alone in their visions. They are both free from the worry that they are crazy, or just seeing things. They learn that they are not alone, that they are loved — even if Kate doesn’t hear it from the horse’s mouth. So to speak. (And the puns just keep a’comin’!)
But it’s not just the horse that sends Kate over the edge … it’s the weird moment of haunting? possession? feverish dream? wherein Sawyer accuses Kate of killing him. Now. Kate assumes this is Drunky, and I’m sure that we are supposed to rest assured in that explanation, especially since we have not really revisited the whole Wayne thing since, and nothing in the two and a half seasons that we’ve had so far suggest anything else. Still. What if it isn’t Drunky who is speaking through Sawyer? There is another man who might blame Kate for his death, who died on the island, and tried to strangle Kate once: Ed Mars, U.S. Marshal.
Still, it’s not as though one has to die on the island to be able to rematerialize there: Christian died in Australia. No, I think the island works instead as a portal between worlds, where the dead can somehow manifest themselves and communicate with the living. It’s interesting that Drunky chooses to communicate through Sawyer. Sawyer, of course, is in an altered state of consciousness, feverish and hallucinating. Perhaps this is why Drunky can speak through him? And there’s some transference going on (interestingly, in an episode where Hurley mentions transference, of course, all episodes have some transference going on…): Kate’s feelings for Sawyer are all tied up in her feelings about Drunky and herself … Kate, confronted with Drunky via Sawyer is able to express her anger at Drunky — this anger which is has kept her from being able to connect emotionally with Sawyer. And in answering Drunky’s question — Why did you kill me? — she is able to express to Sawyer her true feelings for him. It’s very complicated.
(And then, there’s another possibility, and one that is less likely than Mars being the one speaking through Sawyer, but I think it’s at least worth mentioning before we move on: what if it’s not Drunky who is speaking through Sawyer? What if it’s not Mars who is speaking through Sawyer? But what if it’s just Sawyer speaking? What if something happens later on down the road, and something bad happens to Sawyer, and he for some reason blames Kate? And what if it’s Future Sawyer speaking through Fever Sawyer? Yeah, probably not. It doesn’t make much sense, and since we have so many other ghosts running around, why not one more? But with all of Sawyer’s other weird comments from season one, and the four year thing I’ve pointed out, I thought I’d throw it out there anyways.)
But it does bring up an interesting question: what, exactly, is a ghost? When Kate and Sayid chat and Kate asks him if he believes in ghosts, Sayid’s response is that he saw Walt. Now, back when this aired, we still had no idea what had happened to Walt. For all we knew, Walt could have been dead, and that could have been his ghost that was harassing poor Shannon. It’s wasn’t, but it does present the question of what a ghost is exactly? (And what that vision of Walt was …) Conscious energy that is separate from a physical body that can somehow manifest itself either visually or aurally (or both …) — energy that can exist outside time and space in the way that we experience it. And in that sense, perhaps it was Walt’s ghost that Shannon and Sayid witnessed …
Which brings me to Walt’s “appearance” in this episode: via the computer. And an interesting tidbit: according to commentary on the Blu-Ray Lost DVDs, Darlton claim that it is, indeed, Walt on the computer, which I find surprising. I always believed that it was Benry manipulating Michael, which only makes sense when you consider what happens later on in the season. Darlton does joke that maybe Walt was doing it with his mind: “… or he might not even have needed a computer. When you have psychic powers, maybe you just think about the internet and you start IMing people.” The point of all this is that when I rewatched this scene, and expression popped into my head, “ghost in the machine.”
Ghost in the machine is a term coined by the British philosopher Gilbert Ryle as a rejection of the Cartesian dualism of body and mind. Descartes’ “I think, therefore I am,” suggests that the body and mind are two separate things, but for Ryle “Cartesian dualism makes the mistake of assuming that it is sensible to ask of a given cause, process, or event, whether it is mental or physical (with the implication that it cannot be both).” But, as we know from Desmond’s adventures through time, the writers certainly believe that the mind and the body are two entirely separate things, and can exist apart. Thus, Walt, while his body may be physically trapped in Room 23, his consciousness is free to run around the jungle and scare Shannon and Sayid, and poke around in the computer to communicate with his father. Walt’s consciousness is the ghost in the machine.
And what about that machine? Michael asks some questions about the computer that, as I pointed out, were long overdue. One of which is about the timing of the button-pushing. Why do they have to push the button only after they get to the 4-minute mark? Why can’t they push it at, say, 12 minutes or 35 minutes or even at 108 minutes? The question is, as Ed Mars asks Kate, why now? As I noted in “Adrift,” the timer could very well be a key symbol of the show, of the island — the resetting of time, the cyclical nature of time. What if, to get back to the island, they have to, like with the timer, wait until a particular moment. And that when they go back, things get “reset” as it were. Or something. I don’t know. But the question of “why now?” I think is and will be a huge one for the show. All the pieces have to come together at the right moment or moments for something important to happen …
Kind of like how Mr. Eko had to come to find the missing filmstrip piece on his side of the island and bring it, improbably, to Locke in this other hatch on this other side of the island. All of the disparate parts have to come together at the right time. It’s not coincidence at all, but the invisible hand of fate moving pieces across the board. What I am wondering about for the first time is Eko’s Josiah story that he tells Locke before giving him the filmstrip — what the purpose or meaning is.
After season three, when we learn the Others aren’t DHARMA at all, it’s not that I lost interest in DHARMA, I just sort of resigned myself to the idea that aside from creating the infrastructure on the island, the DHARMA Initiative wasn’t going to play a significant part in either the mythology or in future events. But! With the Comic-Con video, Dr. Pierre “Don’t Call Me Marvin” Chang’s appeal to the viewers in the future to do something to save DHARMA, and MansonLamp’s voice apparently on the video … well, it makes me reevaluate the importance of the DHARMA Initiative, and the importance of this idea of restoring the DHARMA Initiative. It makes me wonder about the “temple” that Benry sends his Others to, and its connection to DHARMA (after all, it looked like another DHARMA logo on Benry’s map). And it makes me reconsider this tale wherein a leader rebuilds a temple in disrepair on the foundations of a book. Will something be restored based on the knowledge located within a book on the show? Will the past itself be restored based on information located in Daniel’s notebook? His Book of Destiny? His Book of Laws? Just a thought.
Alright. So what’s going on with the ARG? Not much, in all honesty. There’s a lot of grumbling from Lost fans and ARG fans that this game is both slow and not revealing much good information. I honestly don’t have much time to devote to the game as it is, so I don’t mind frankly. But I understand the complaints.
Anywhoza: On August 20th, the first test on dharmawantsyou.com appeared, and it was a spatial relations test, wherein you had to place a bunch of pieces into a square and make them fit. Hmm. Putting pieces together — how timely! I did terribly on this test. Unfortunately, I didn’t learn there was a cheat, wherein you could hit the space bar and stop the timer to get a 99% score. (The cheat — you use the “space” bar? It’s a Spacial test? See?) Because I’m awful at these games. You then were grouped into one of two groups: Ganymede or Pandora. Considering I am in the Pandora group, I wouldn’t take that as a good sign if you are, too. (Ganymede was a mortal that Zeus abducted and brought to Mt. Olympus because he was so hawt. Pandora was the trouble maker who released all of the world’s evil from the box. So, you know, not good.)
On August 27th, a new test was revealed: a trivia quiz. The last question was “What is the answer to this question?” and the choices were A:A, B:B, C:C, D:D. I, foolishly, chose A. And apparently, there was a cheat for this, too. If you press i, “C:C” shows up. The groups you are placed in are either Steropes, Polyphemus, and Brontes. They are all cyclops, although curiously, Steropes and Brontes are mentioned in Heriod’s poem “Theogony,” and Polyphemus is from the Odyssey, for whatever that’s worth. I’m in Polyphemus which means that he’s the loser group in all probability. As for the cheat — it was pressing the letter “i” get it? The groups are all cyclops? With one Eye/I?
So, now I’m wondering if maybe the cheats are going to mean something later? “Space,” “I” … will it spell a message? And what’s with these groups? With the mythology? Sigh. Considering how I am with ARGs, I fully expect that my group will lead me to be a Workman.
Alright. Before I go, I saw a story that caught my attention … it seemed so Lost-y that I thought it bore mentioning. Survived a plane crash, and feels like she is “born again?” Fascinating.
Lost originally aired on ABC and is now available to stream on Hulu and IMDb.
This post originally appeared on the Hearst site Tubular.