“a term coined by Richard Dawkins in his book The Selfish Gene that was originally used to describe packets of cultural information, but subsequently adopted by internet users to refer to inside jokes for people who have no friends with whom to have real inside jokes”—Wolfram Alpha’s definition of “meme” (via Digg)
I pretty much agree 100% with Alan Sepinwall's review of the Lost finale.
As two and a half hours of television — as an extra-long episode of “Lost” — I thought most of it worked like gangbusters: the reunions in the sideways (Sawyer and Juliet in particular, but all of them were splendidly played), the farewells in the real world, the final battle between Jack and Smokey on the cliff, the very-not-dead Lapidus (whoops) just barely getting the plane off the runway Kate and Sawyer built, etc. You would have to be made of stone to not get choked up at one or multiple points, whether it was Jack passing on the protector job to Hurley (an appropriate end for the fan surrogate character, and the scene that finally wrecked me) or Kate and Charlie again helping Claire deliver Aaron, or Locke forgiving Ben, or one of a dozen other moments like those. Really, up until those last minutes, which I’ll get to in a bit, I thought it was a wonderful episode, with Cuse, Lindelof and director Jack Bender once again teaming up to heighten the emotions and action of a bonus-length “Lost” finale.
But as someone who did spend at least part of the last six years dwelling on the questions that were unanswered — be they little things like the outrigger shootout or why The Others left Dharma in charge of the Swan station after the purge, or bigger ones like Walt — I can’t say I found “The End” wholly satisfying, either as closure for this season or the series.
Jack tells Desmond at one point, “Trust me, I know: All of this matters,” and that’s a very similar sentiment to one espoused by Lester Freamon on “The Wire” — a show where all the pieces did, in fact, matter, and everything that was introduced paid off down the road. It’s not a fair comparison, both because “The Wire” is the greatest drama ever, and because it was telling different kinds of stories in a different way from “Lost.” But when I hear Jack say something like that, at the end of a series at which a whole lotta things wound up not mattering at all, it’s hard to ignore the thematic dissonance.
A friend of mine goes to Brown and she has a chemistry class with Emma Watson. She said one day Emma answered a question correctly and someone in the back shouted, “TEN POINTS FOR GRYFFINDOR!” She wasn’t happy.
For if God put the oil in the ground — under the oceans — he must have put it there for man’s use, and for man to refuse such a gift was tantamount to the refusal of grace. It was sin, and so in the fall of 2008 you could not only hear the divine appeal in the cries of those whose sins had been forgiven, you could also see it on the bumpers of their SUVs: “Drill, baby, drill! Drill, baby, drill…”
You don’t hear their cries right now, though. You don’t hear their prayers. You don’t hear from them at all now that God has answered their prayers in the biblical way — with a sign.