After Oceanic Flight 815 crashes on a mysterious island, the survivors must adapt to their new circumstances. Lost employs a complex narrative structure with character flashbacks and time travel elements that add layers of mystery. The characters each have their own backstories and secrets, and as the show continues the connections between them are revealed. The island presents many strange phenomena that fuel fan speculation and theories. Lost combines elements seen in other cult TV shows and helped rescue the ABC network from low ratings with its critical and viewer success.
This document analyzes representations of race and gender in science fiction works across various mediums such as movies, novels, and short stories. Many examples are given of works that portray women in sexualized or subordinate roles, certain races being viewed as inferior, or societies stratified along racial or gender lines. The document suggests that science fiction often reflects societal attitudes around these issues and can provide commentary on real-world injustices and power structures.
The document discusses portrayals of racial and ethnic groups in television and film media. It focuses on common stereotypes faced by Black women, Black men, Latinas, and Whites throughout history. For Black women, the stereotypes of Mammy, Jezebel, and Sapphire are described. For Black men, the stereotype of Sambo originated during slavery and continued through minstrel shows and early television portrayals. Common stereotypes of Latinas as the virginal Señorita or spicy spitfire are also outlined. The impacts of these persistent stereotypes on self-image and societal views are examined.
The document discusses the portrayal of women in Golden Age comics from 1940-1960. It analyzes characters like Wonder Woman, Catwoman, Phantom Lady, and Sheena who were depicted as either embodying ideals of femininity or being sexually objectified and submissive. It also discusses how characters like Batwoman and Lois Lane were often treated as sources of amusement for male heroes and faced criticism for being too independent.
This document discusses the changing portrayals of women in video games and comic books over time. It provides examples of recent video games like Mass Effect, The Walking Dead, and Alien: Isolation that feature strong, competent female protagonists rather than the stereotypical "damsel in distress" roles of the past. However, it also acknowledges that some games and comics still objectify or sexualize women. Overall, the document argues that while progress has been made, there is still work to be done to achieve balanced and non-objectifying portrayals of women across both mediums.
The document discusses how horror films reflect and are shaped by societal fears and culture over time. It explores how different countries portray horror differently and how the themes in horror films have changed from reflecting fears of "the other" to more personal fears closer to home. Some key points made include:
- Early horror films featured threats from vampires and monsters but now focus more on real-life threats like serial killers.
- Films from different decades mirrored the societal fears of that time period, like nuclear threat films in the 1950s.
- Tropes like home invasions may reflect a country's fear of immigrants or foreigners.
- Horror films have also been used to discuss issues like racism, trauma,
The document discusses how horror films can act as a reflection of societal fears and issues. It addresses several topics including how the threats portrayed in horror films have evolved over time to better represent the fears of the era. For example, films after World War 2 featured more werewolf movies likely reflecting the violence of Nazis. The document also examines how horror films have addressed topics like racism, treatment of women, immigration fears and more. Many examples of specific films are provided that illustrate how the films incorporated themes relating to the societal issues of their time period and location.
This document discusses the portrayal of women in Golden Age comics from the 1940s-1960s. It provides examples of comics featuring Wonder Woman, Phantom Lady, Sheena, Catwoman, Batwoman, and Lois Lane. These characters often faced criticism for being either too sexualized and objectified or failing to conform to feminine gender norms of the time. The document also notes how many of these characters have since been reimagined as stronger and more empowered.
Crime television case stud ies homicideHeworthMedia1
Homicide: Life on the Street was a police procedural TV series that aired from 1993 to 1999 based on a book about the Baltimore homicide unit. It stood out through its realistic portrayal of detectives' work and inclusion of complex African American characters. While initially struggling in ratings, it gained acclaim for its writing, acting, and depiction of the psychological toll of investigating murders. However, the network pushed for happier endings and sexier content at times to boost ratings.
This document analyzes representations of race and gender in science fiction works across various mediums such as movies, novels, and short stories. Many examples are given of works that portray women in sexualized or subordinate roles, certain races being viewed as inferior, or societies stratified along racial or gender lines. The document suggests that science fiction often reflects societal attitudes around these issues and can provide commentary on real-world injustices and power structures.
The document discusses portrayals of racial and ethnic groups in television and film media. It focuses on common stereotypes faced by Black women, Black men, Latinas, and Whites throughout history. For Black women, the stereotypes of Mammy, Jezebel, and Sapphire are described. For Black men, the stereotype of Sambo originated during slavery and continued through minstrel shows and early television portrayals. Common stereotypes of Latinas as the virginal Señorita or spicy spitfire are also outlined. The impacts of these persistent stereotypes on self-image and societal views are examined.
The document discusses the portrayal of women in Golden Age comics from 1940-1960. It analyzes characters like Wonder Woman, Catwoman, Phantom Lady, and Sheena who were depicted as either embodying ideals of femininity or being sexually objectified and submissive. It also discusses how characters like Batwoman and Lois Lane were often treated as sources of amusement for male heroes and faced criticism for being too independent.
This document discusses the changing portrayals of women in video games and comic books over time. It provides examples of recent video games like Mass Effect, The Walking Dead, and Alien: Isolation that feature strong, competent female protagonists rather than the stereotypical "damsel in distress" roles of the past. However, it also acknowledges that some games and comics still objectify or sexualize women. Overall, the document argues that while progress has been made, there is still work to be done to achieve balanced and non-objectifying portrayals of women across both mediums.
The document discusses how horror films reflect and are shaped by societal fears and culture over time. It explores how different countries portray horror differently and how the themes in horror films have changed from reflecting fears of "the other" to more personal fears closer to home. Some key points made include:
- Early horror films featured threats from vampires and monsters but now focus more on real-life threats like serial killers.
- Films from different decades mirrored the societal fears of that time period, like nuclear threat films in the 1950s.
- Tropes like home invasions may reflect a country's fear of immigrants or foreigners.
- Horror films have also been used to discuss issues like racism, trauma,
The document discusses how horror films can act as a reflection of societal fears and issues. It addresses several topics including how the threats portrayed in horror films have evolved over time to better represent the fears of the era. For example, films after World War 2 featured more werewolf movies likely reflecting the violence of Nazis. The document also examines how horror films have addressed topics like racism, treatment of women, immigration fears and more. Many examples of specific films are provided that illustrate how the films incorporated themes relating to the societal issues of their time period and location.
This document discusses the portrayal of women in Golden Age comics from the 1940s-1960s. It provides examples of comics featuring Wonder Woman, Phantom Lady, Sheena, Catwoman, Batwoman, and Lois Lane. These characters often faced criticism for being either too sexualized and objectified or failing to conform to feminine gender norms of the time. The document also notes how many of these characters have since been reimagined as stronger and more empowered.
Crime television case stud ies homicideHeworthMedia1
Homicide: Life on the Street was a police procedural TV series that aired from 1993 to 1999 based on a book about the Baltimore homicide unit. It stood out through its realistic portrayal of detectives' work and inclusion of complex African American characters. While initially struggling in ratings, it gained acclaim for its writing, acting, and depiction of the psychological toll of investigating murders. However, the network pushed for happier endings and sexier content at times to boost ratings.
THE DESCENT by James Rose (For Splice)Belinda Raji
This document provides an in-depth analysis of the 2005 horror film The Descent, directed by Neil Marshall. It summarizes the film's plot and compares it to the 1972 film Deliverance, noting similarities in narrative structure, characters, and themes of confronting primitive forces in the wilderness. It argues that The Descent fits within the horror sub-genre of "Urbanoia" films, where modern protagonists encounter threats from primitive cultures in isolated natural settings.
The document discusses various concepts related to meaning and interpretation including denotation versus connotation, stereotypes, iconography in different genres, narratives structures, and analyzing a film clip. It provides definitions and examples for key terms. For stereotypes, it lists common stereotypes associated with gender, social class, age, and more. Iconography sections describe visual symbols commonly seen in western, sci-fi, and fantasy genres. Narrative structures are defined as linear versus non-linear and examples are given. A clip analysis breaks down visual and audio elements that convey meaning.
This document discusses representations of gender and masculinity in video games. It notes that many early adventure and beat 'em up games were designed by male developers for male audiences and featured stereotypical masculine themes. While the gaming audience has grown more diverse, representations of females tend to emphasize sexualization and stereotypes like the damsel in distress. The document also examines claims about effects of violent games and discussions around improving representation and diversity in games.
Devil Comics Entertainment started in 1999 and has expanded into a worldwide store that serves comic fans and collectors. We provide an inventory of comics, trade paperbacks, toys, and statues through discount pricing and quality service.
Video games often use simplistic or outdated representations of gender and ethnicity that reinforce stereotypes. Analyzing the narrative structures and character types in games using models like Vladimir Propp's can provide insights into how different groups are portrayed. While Propp's character archetypes fit the formulaic nature of many game narratives, they may not apply to open-ended or multiplayer online games where player agency is higher. Issues of representation are important to examine in both story-driven and multiplayer games.
This document discusses the codes and conventions of different film and television genres including fantasy swashbuckler films like Pirates of the Caribbean, superhero films like The Dark Knight Rises and Avengers, romantic comedies like Norbit, American sitcoms like The Fresh Prince of Bel-Air, British television dramas like Waterloo Road, soap operas like EastEnders, and reality television shows like The Only Way is Essex. It provides lists of elements common to each genre such as special effects, good vs evil narratives, relatable characters, comedic themes, school settings, character storylines, and factual unscripted content.
The document provides information on upcoming books, films, television shows and graphic novels. It summarizes:
1) The highly anticipated sequel March: Book Two continues Congressman John Lewis' graphic novel trilogy about the American civil rights movement.
2) The science fiction television series The Expanse, based on James S.A. Corey's novels, will debut on Syfy in 2015 with its first season having 10 episodes.
3) Upcoming titles include Scott McCloud's graphic novel The Sculptor, the fantasy novel Half-Resurrection Blues, and Marvel's crossover event Guardians of the Galaxy/All-New X-Men: The Trial of Jean Grey.
Elmore Leonard's City Primeval is a gritty crime thriller set in Detroit. The story follows a psychopathic killer known as the "Oklahoma Wildman" who commits thrill killings. A dedicated city cop is determined to take down the Wildman. The novel is praised for its fast-paced action and gritty portrayal of urban crime. It highlights Leonard's skill at dark crime tales involving heists, hijacks, and murder, showing him to be equal to great crime fiction authors like John D. MacDonald, Dashiell Hammett, and Robert Parker.
The document is a 2431 word essay critically analyzing the representation of race in the TV show Game of Thrones. It finds that the show primarily features white characters in positions of power and importance, while characters of color are often relegated to servant or slave roles. It discusses how this reflects real-world racial inequalities and biases, and how the show could improve diversity in casting to be more inclusive and avoid perpetuating stereotypes.
This analysis compares the literary works of Robin Hood and The Hunger Games. Both stories are set in forests that serve as escapes for the main characters from their oppressive governments. While Robin Hood is set in medieval England, The Hunger Games takes place in a dystopian future. The analysis examines the similarities between the settings, main characters of Robin Hood and Katniss Everdeen, and some supporting characters. It concludes that while the works are set at different times, they both feature protagonists fighting against corruption and helping the lower classes.
The document provides biographical information on three iconic comic book superheroes:
Wolverine, Superman, and Batman. It describes Wolverine's mutant abilities of heightened senses and healing factor. For Superman, it discusses that he was born on Krypton and rocketed to Earth as an infant, where he was raised by farmers and developed superpowers under Earth's yellow sun. The summary outlines that Batman's secret identity is Bruce Wayne, who witnessed his parents' murder as a child and became a vigilante fighting crime in Gotham City without superpowers through intellect, skills, and technology.
Your film would be well suited for distribution by Artificial Eye or Verve Pictures based on their focus on independent and social realist films. Both distributors target audiences interested in films that portray working class life, relationships, and issues like violence or substance abuse. The production styles of filming on location with less experienced actors would also align with the films previously distributed by Artificial Eye and Verve Pictures.
Your film would be well suited for distribution by Artificial Eye or Verve Pictures based on their focus on independent and social realist films. Both distributors target audiences interested in films that portray working class life, relationships, and issues like violence or substance abuse, themes that are prominent in your film. The production style of using unknown actors and real locations also aligns with films previously distributed by Artificial Eye and Verve Pictures.
9 badass female game heroes that changed everything www.gamebasin.comGameBasin.com
The document discusses 9 influential female characters in video games that helped change portrayals of women. It provides descriptions of each character, including Jade from Beyond Good and Evil, Commander Shepard from Mass Effect, Bayonetta from Bayonetta, Jill Valentine from Resident Evil, Yuna from Final Fantasy X, Samus Aran from Metroid, Lara Croft from Tomb Raider, Clementine from The Walking Dead, and Ellie from The Last of Us. These characters moved away from the "damsel in distress" trope and established female protagonists who were the focus of their respective games and stories.
The action genre has evolved significantly over the decades from the 1920s to present day. Early action films from the 1920s-1930s featured swashbuckling movies and sword fighting. In the 1940s-1950s, war movies, westerns, and spy films became popular. The 1960s saw the rise of James Bond movies. In the 1970s, grittier detective and crime dramas as well as martial arts films emerged. The 1980s was the peak of the action blockbuster era defined by one-man army heroes. More recent action films feature increased comedy elements, female leads, and use of CGI technology and exaggerated stunts.
The document provides summaries for several graphic novels that would be suitable for an adult library collection. The summaries describe the plots and themes of the graphic novels Watchmen, Daredevil: Born Again, Pride of Baghdad, All-Star Superman, Love and Rockets, One Hundred Demons, Safe Area Gorazde, DMZ, Criminal, Jack of Fables, Rex Libris, Wonder Woman collections by Jodi Picoult and Gail Simone, Shooting War, Black Hole, Abandon the Old in Tokyo, Spawn, and The Walking Dead. The graphic novels cover mature subjects and genres like war, crime, and horror and are recommended for their literary and artistic merits.
This document analyzes representations of race in films starring Denzel Washington, using textual analysis of films like Man on Fire and Training Day. It discusses how early films confined black actors to stereotypical roles but that Washington helped expand opportunities through complex roles. While some roles still embodied stereotypes, Washington's work with directors like Spike Lee has portrayed more fully realized black characters. The document examines scenes from Washington's films to analyze how representations have both broadened from early limitations but still relate to historical stereotypes.
The document summarizes DC Comics' upcoming relaunch of 52 #1 issues across multiple comic book titles. It provides details on new storylines and creative teams for popular characters like Batman, Superman, Wonder Woman, and others. The relaunch aims to give the comics a modernized look with updated costumes and storylines to attract new and younger readers. While some fans criticize the move as unnecessary, DC Comics editors insist it is not a full reboot but rather a streamlining of continuity and a new starting point for new readers.
Overview of the Romance genre, with 2011 RITA (r) Award Winners from the Romance Writers of America. Images from Author Web sites or Flickr, with attributions. Used for Rossville Community Library presentation 2/9/2012 by Sharon Moreland.
This short document appears to be about the Eilat Red Sea resort area in Israel. It includes a copyright notice and credits the creation of music to Gheorghe Zamfir, known for playing the pan flute. However, the document provides very little contextual information to summarize.
To celebrate its 55th anniversary, Lego published some minimalist ads, using blocks to represent well-known children's stories. Can you guess the stories, and the two famous movies at the end?
THE DESCENT by James Rose (For Splice)Belinda Raji
This document provides an in-depth analysis of the 2005 horror film The Descent, directed by Neil Marshall. It summarizes the film's plot and compares it to the 1972 film Deliverance, noting similarities in narrative structure, characters, and themes of confronting primitive forces in the wilderness. It argues that The Descent fits within the horror sub-genre of "Urbanoia" films, where modern protagonists encounter threats from primitive cultures in isolated natural settings.
The document discusses various concepts related to meaning and interpretation including denotation versus connotation, stereotypes, iconography in different genres, narratives structures, and analyzing a film clip. It provides definitions and examples for key terms. For stereotypes, it lists common stereotypes associated with gender, social class, age, and more. Iconography sections describe visual symbols commonly seen in western, sci-fi, and fantasy genres. Narrative structures are defined as linear versus non-linear and examples are given. A clip analysis breaks down visual and audio elements that convey meaning.
This document discusses representations of gender and masculinity in video games. It notes that many early adventure and beat 'em up games were designed by male developers for male audiences and featured stereotypical masculine themes. While the gaming audience has grown more diverse, representations of females tend to emphasize sexualization and stereotypes like the damsel in distress. The document also examines claims about effects of violent games and discussions around improving representation and diversity in games.
Devil Comics Entertainment started in 1999 and has expanded into a worldwide store that serves comic fans and collectors. We provide an inventory of comics, trade paperbacks, toys, and statues through discount pricing and quality service.
Video games often use simplistic or outdated representations of gender and ethnicity that reinforce stereotypes. Analyzing the narrative structures and character types in games using models like Vladimir Propp's can provide insights into how different groups are portrayed. While Propp's character archetypes fit the formulaic nature of many game narratives, they may not apply to open-ended or multiplayer online games where player agency is higher. Issues of representation are important to examine in both story-driven and multiplayer games.
This document discusses the codes and conventions of different film and television genres including fantasy swashbuckler films like Pirates of the Caribbean, superhero films like The Dark Knight Rises and Avengers, romantic comedies like Norbit, American sitcoms like The Fresh Prince of Bel-Air, British television dramas like Waterloo Road, soap operas like EastEnders, and reality television shows like The Only Way is Essex. It provides lists of elements common to each genre such as special effects, good vs evil narratives, relatable characters, comedic themes, school settings, character storylines, and factual unscripted content.
The document provides information on upcoming books, films, television shows and graphic novels. It summarizes:
1) The highly anticipated sequel March: Book Two continues Congressman John Lewis' graphic novel trilogy about the American civil rights movement.
2) The science fiction television series The Expanse, based on James S.A. Corey's novels, will debut on Syfy in 2015 with its first season having 10 episodes.
3) Upcoming titles include Scott McCloud's graphic novel The Sculptor, the fantasy novel Half-Resurrection Blues, and Marvel's crossover event Guardians of the Galaxy/All-New X-Men: The Trial of Jean Grey.
Elmore Leonard's City Primeval is a gritty crime thriller set in Detroit. The story follows a psychopathic killer known as the "Oklahoma Wildman" who commits thrill killings. A dedicated city cop is determined to take down the Wildman. The novel is praised for its fast-paced action and gritty portrayal of urban crime. It highlights Leonard's skill at dark crime tales involving heists, hijacks, and murder, showing him to be equal to great crime fiction authors like John D. MacDonald, Dashiell Hammett, and Robert Parker.
The document is a 2431 word essay critically analyzing the representation of race in the TV show Game of Thrones. It finds that the show primarily features white characters in positions of power and importance, while characters of color are often relegated to servant or slave roles. It discusses how this reflects real-world racial inequalities and biases, and how the show could improve diversity in casting to be more inclusive and avoid perpetuating stereotypes.
This analysis compares the literary works of Robin Hood and The Hunger Games. Both stories are set in forests that serve as escapes for the main characters from their oppressive governments. While Robin Hood is set in medieval England, The Hunger Games takes place in a dystopian future. The analysis examines the similarities between the settings, main characters of Robin Hood and Katniss Everdeen, and some supporting characters. It concludes that while the works are set at different times, they both feature protagonists fighting against corruption and helping the lower classes.
The document provides biographical information on three iconic comic book superheroes:
Wolverine, Superman, and Batman. It describes Wolverine's mutant abilities of heightened senses and healing factor. For Superman, it discusses that he was born on Krypton and rocketed to Earth as an infant, where he was raised by farmers and developed superpowers under Earth's yellow sun. The summary outlines that Batman's secret identity is Bruce Wayne, who witnessed his parents' murder as a child and became a vigilante fighting crime in Gotham City without superpowers through intellect, skills, and technology.
Your film would be well suited for distribution by Artificial Eye or Verve Pictures based on their focus on independent and social realist films. Both distributors target audiences interested in films that portray working class life, relationships, and issues like violence or substance abuse. The production styles of filming on location with less experienced actors would also align with the films previously distributed by Artificial Eye and Verve Pictures.
Your film would be well suited for distribution by Artificial Eye or Verve Pictures based on their focus on independent and social realist films. Both distributors target audiences interested in films that portray working class life, relationships, and issues like violence or substance abuse, themes that are prominent in your film. The production style of using unknown actors and real locations also aligns with films previously distributed by Artificial Eye and Verve Pictures.
9 badass female game heroes that changed everything www.gamebasin.comGameBasin.com
The document discusses 9 influential female characters in video games that helped change portrayals of women. It provides descriptions of each character, including Jade from Beyond Good and Evil, Commander Shepard from Mass Effect, Bayonetta from Bayonetta, Jill Valentine from Resident Evil, Yuna from Final Fantasy X, Samus Aran from Metroid, Lara Croft from Tomb Raider, Clementine from The Walking Dead, and Ellie from The Last of Us. These characters moved away from the "damsel in distress" trope and established female protagonists who were the focus of their respective games and stories.
The action genre has evolved significantly over the decades from the 1920s to present day. Early action films from the 1920s-1930s featured swashbuckling movies and sword fighting. In the 1940s-1950s, war movies, westerns, and spy films became popular. The 1960s saw the rise of James Bond movies. In the 1970s, grittier detective and crime dramas as well as martial arts films emerged. The 1980s was the peak of the action blockbuster era defined by one-man army heroes. More recent action films feature increased comedy elements, female leads, and use of CGI technology and exaggerated stunts.
The document provides summaries for several graphic novels that would be suitable for an adult library collection. The summaries describe the plots and themes of the graphic novels Watchmen, Daredevil: Born Again, Pride of Baghdad, All-Star Superman, Love and Rockets, One Hundred Demons, Safe Area Gorazde, DMZ, Criminal, Jack of Fables, Rex Libris, Wonder Woman collections by Jodi Picoult and Gail Simone, Shooting War, Black Hole, Abandon the Old in Tokyo, Spawn, and The Walking Dead. The graphic novels cover mature subjects and genres like war, crime, and horror and are recommended for their literary and artistic merits.
This document analyzes representations of race in films starring Denzel Washington, using textual analysis of films like Man on Fire and Training Day. It discusses how early films confined black actors to stereotypical roles but that Washington helped expand opportunities through complex roles. While some roles still embodied stereotypes, Washington's work with directors like Spike Lee has portrayed more fully realized black characters. The document examines scenes from Washington's films to analyze how representations have both broadened from early limitations but still relate to historical stereotypes.
The document summarizes DC Comics' upcoming relaunch of 52 #1 issues across multiple comic book titles. It provides details on new storylines and creative teams for popular characters like Batman, Superman, Wonder Woman, and others. The relaunch aims to give the comics a modernized look with updated costumes and storylines to attract new and younger readers. While some fans criticize the move as unnecessary, DC Comics editors insist it is not a full reboot but rather a streamlining of continuity and a new starting point for new readers.
Overview of the Romance genre, with 2011 RITA (r) Award Winners from the Romance Writers of America. Images from Author Web sites or Flickr, with attributions. Used for Rossville Community Library presentation 2/9/2012 by Sharon Moreland.
This short document appears to be about the Eilat Red Sea resort area in Israel. It includes a copyright notice and credits the creation of music to Gheorghe Zamfir, known for playing the pan flute. However, the document provides very little contextual information to summarize.
To celebrate its 55th anniversary, Lego published some minimalist ads, using blocks to represent well-known children's stories. Can you guess the stories, and the two famous movies at the end?
Sekolah kerja diperkenalkan untuk mempersiapkan siswa memasuki dunia kerja dengan memberikan pengetahuan dan keterampilan vokasional. Pengajaran proyek melibatkan siswa secara aktif dalam proyek kelompok untuk meningkatkan pembelajaran. Taman Siswa didirikan untuk memberikan pendidikan nasionalistik berdasarkan prinsip kemandirian siswa dan persatuan masyarakat.
Dokumen tersebut merangkum strategi pembelajaran untuk mata pelajaran merencanakan kebutuhan finishing kayu. Strategi ini terdiri dari silabus, rencana pelaksanaan pembelajaran (RPP), bahan bacaan siswa, lembar kerja siswa (LKS), lembar penilaian (LP), dan tabel spesifikasi penilaian. Strategi ini bertujuan untuk memberikan contoh perangkat pembelajaran yang menekankan pada keterampilan berpikir, perilaku berkar
O documento fornece sugestões de atividades simples para acompanhar poemas sobre ciência para crianças, abrangendo temas como luz, água, eletricidade, óptica e astronomia. As atividades utilizam materiais comuns e incluem experimentos, vídeos explicativos e sites educacionais.
Quelques chiffres clés sur le camping en France : Capacité d'accueil totale, Répartition des hébergements par départements, taux d'équipements, etc
Ces statistiques sur le camping proviennent de l'Insee et du FFCC.
Cette présentation vous est proposée par http://www.raviday-camping.com
After Oceanic Flight 815 crashes on a mysterious island, the survivors must adapt to the harsh conditions while grappling with their past failures and secrets. The show uses flashbacks and flash-forwards to tell the non-linear narrative. In season 3, a major character is killed off in a shocking twist, and the finale introduces time travel elements and flash-forwards that further complicate the narrative.
This document provides an overview of the characteristics of traditional soap operas and how they evolved into male-centered soap operas. It discusses how traditional soap operas focused on domestic life and relationships but were considered low culture. Male soap operas incorporated more action/violence and morally ambiguous male protagonists. Examples like Hill Street Blues and NYPD Blue combined soap opera elements with police procedurals and action. Later shows on cable like The Sopranos and The Shield featured antihero protagonists engaging in crime and violence while still exploring relationships and personal lives. The document also summarizes a key episode of The Shield that shows the complex relationship between the main character Vic Mackey and another officer.
This document discusses the key elements of soap operas including genres, target audiences, common storylines, and characters. It provides examples of different soap opera genres like glamorous, light entertainment, and social realist. It describes some common stereotypical soap opera characters and how they are used. It also discusses the importance of narratives and cliffhangers in keeping audiences engaged. Overall, the document analyzes several aspects of the soap opera format and style.
This document discusses the key elements of soap operas including genres, target audiences, common storylines, and characters. It provides examples of different soap opera types like glamorous (Dallas), light entertainment (EastEnders), and social realist (Doctors). Common stereotypical characters are described such as "thugs" and "nosy neighbors." The importance of narrative, cliffhangers, and audience involvement is explained. Mise-en-scene techniques are defined including setting, facial expressions, character positioning, lighting, props, and costumes. The document concludes by outlining plans for a new glamorous soap opera called "Folks" set in Folkestone, Kent with main characters,
1) Genre provides audiences with familiar codes and conventions to create expectations about the types of stories, characters, and themes in a film.
2) Producers can use genre as a guide to conform to audience expectations or challenge conventions.
3) While genre gives audiences comfort, it can also limit films and actors that break out of expected types. Blending genres or subverting expectations can both please and surprise audiences.
Skins is a British teen drama television series that aired on E4 from 2007 to 2013. It follows the lives of a group of teenagers in Bristol, England dealing with typical adolescent issues such as dysfunctional families, mental illness, sexuality, substance abuse and bullying. Over six seasons and 61 episodes, the show explored controversial topics through its portrayal of atypical teenagers who get mixed up in the wrong crowds and bad decisions. It targeted audiences 16 and older and gained both critical acclaim and high ratings within its demographic.
1. The document provides information about an upcoming pop culture quiz called "Pop It Like It's Hot" including details about the number of questions, point values, and gratitude to those involved in creating the quiz.
2. It then provides context about the Chrome dinosaur game including that it was inspired by prehistoric times and was given the codename "Project Bolan" in reference to the rock band T-Rex.
3. The last part provides context about the popularity of the Chrome dinosaur game including how many times it is played each month and the countries with the most players.
This document provides an overview and analysis of soap operas and male-centered crime dramas that incorporate elements of soap operas. It discusses the origins and conventions of traditional soap operas, including their focus on domestic life, relationships and melodrama. It then outlines how later crime dramas like Hill Street Blues combined soap opera elements with police procedural plots. These male soap operas featured morally ambiguous male protagonists and dealt with themes of masculinity, violence and sexuality rather than traditional soap opera themes. The document uses The Shield as a case study to illustrate how these shows pushed boundaries in terms of graphic content and moral ambiguity.
The document provides 20 multiple choice questions with marks assigned to each. It states there are a total of 21 marks for the quiz. It then lists the questions one by one, each followed by 2-4 possible answer choices. The questions cover a range of topics from movies, TV shows, books, video games and more.
This document provides an overview of key concepts in queer film and television representation. It discusses how the Hays Code from the 1930s restricted LGBTQ representation in films. It also summarizes depictions of queer characters in films before and after the Code, as well as important court cases and genres like underground films, New Queer Cinema, and examples of influential films that furthered LGBTQ representation like Paris Is Burning and Disclosure. The document also defines concepts like homonormativity, bi-erasure, and cis-washing that relate to issues of diversity and inclusion in LGBTQ media representation.
The document discusses the history and evolution of Western films over time. It describes how early Westerns from the 1900s-1930s established the genre but had basic storylines and silent films. Westerns grew in popularity in the 1930s-1950s as sound and color were added. The 1960s saw a rise in "spaghetti Westerns" produced in Italy. More recent Westerns from the 1980s onward have experimented with new genres and storylines, including sci-fi, LGBT themes, and aliens. The genre has adapted to changes in technology and audiences over 100+ years.
This document provides an overview of television sitcom conventions and representations. It discusses key elements of sitcom genres like narrative structure, settings, characters and gender stereotypes. It also analyzes how sitcoms use familiar character types and social stereotypes to represent people and construct worlds of "realism" or fantasy. Viewers may interpret representations differently depending on factors like their social positionality. Sitcoms both maintain and sometimes challenge dominant power relations and societal norms through their representations.
What is desertification What areas of the world ( and the U.S.docxberthacarradice
What is desertification? What areas of the world ( and the U.S) are becoming desertified? Why? paragraph
There are many county and state laws that serve to protect soils and many measures taken to prevent erosion of soils, What are some of the methods used today to prevent soil erosion? parapgraph
What causes soil to be different colors? Mineral? amount of organic matter or both? paragraph
How is soil a sink for CO2? paragraph
RESPOND TO THESE STUDENT POST IN A PARAGRAPH
RONALD POST
The movie I picked is “The Help”. Set in Mississippi during the 1960s, Skeeter (Stone) is a southern society girl who returns from college determined to become a writer, but turns her friends' lives -- and a Mississippi town -- upside down when she decides to interview the black women who have spent their lives taking care of prominent southern families. Aibileen (Davis), Skeeter's best friend's housekeeper, is the first to open up -- to the dismay of her friends in the tight-knit black community. Despite Skeeter's life-long friendships hanging in the balance, she and Aibileen continue their collaboration and soon more women come forward to tell their stories -- and as it turns out, they have a lot to say. Along the way, unlikely friendships are forged and a new sisterhood emerges, but not before everyone in town has a thing or two to say themselves when they become unwittingly -- and unwillingly -- caught up in the changing times.
The negative image of the African American male/female can be directly traced to the historic stereotyping of a racist white mentality evidenced in motion pictures, in literature and in popular American folklore. Although the movie is somewhat lacking in its credible presentation and it does not really tackle the reality of the civil rights era it argues for civil rights and tries to break stereotypes. Many of the actors show us different sides of the feelings of rich and middle-class whites that are living in the south. The movies gives us a perspective of how African Americans and whites felt about one another in a difficult time. This is done in a somewhat intimate environment mostly set in a small town in the participates homes with up close and personal situations. The set, actors, and environment sets up a powerful message of racism in the deep south that many people don’t realize. Most camera angles and cinematography are up close and personal with face to face intimate situations caught on film showing us how each actress felt. Although, I enjoy more of a factual and serious movie when it comes to content like racism that should be take very serious The Help is a very entertaining movie with a positive message.
MELISSA POST
I watched this movie called 'A futile and Stupid Gesture' and it was fantastic. featured on Netflix as a 'Netflix Original'. I have issues with going to movie theaters (PTSD) so I only watch movies at home when they come out on DVD, TV, HULU, or Netflix. To summarize this, this movie i ...
The document describes the origins and development of the reality television show Big Brother. It began as a concept called "De Gouden Kooi" (The Golden Cage) in the Netherlands in 1997. The first season of the show aired in 1999 in the Netherlands. As of 2016, there have been 387 seasons of Big Brother aired in over 54 countries worldwide. The document requests the names "Big Brother" and "Bigg Boss".
The document describes a pop culture quiz with multiple choice questions about movies, TV shows, and celebrities from various genres including thriller, romance, fantasy, animated, sci-fi, and superhero films. It provides questions, clues, and answer choices for each round of the quiz covering topics like specific scenes, characters, directors, songs, and more.
This document discusses genres and conventions of soap operas. It provides context on how soaps target specific audiences and include certain stereotypical characters. Examples are given of popular soap operas and their genres, like EastEnders being a light entertainment soap. The document outlines some common narrative techniques soaps use, such as cliffhangers. It also explains how mise-en-scene elements like setting, facial expressions, lighting and costumes are used to convey meaning and emotion to viewers. Finally, it discusses how soaps develop devoted audiences through engaging storylines.
This document discusses genres and conventions of soap operas. It provides examples of different types of soap opera genres including glamorous, light entertainment, and social realist. It outlines some common soap opera character stereotypes such as thugs, nosy neighbors, womanizers, and young ruffians. It also discusses important elements of soap operas like narratives, mise-en-scene techniques, audience involvement, and location setting. At the end, it proposes ideas for a new soap opera set in Folkestone, Kent called "Our Soap" that would have an abusive husband storyline and glamorous elements.
This document discusses the key elements of soap operas including genres, target audiences, characters, storylines and how production elements like mise-en-scene are used. It provides examples of popular soap operas like Coronation Street, EastEnders, Dallas and how they employ different genres and narrative devices. The document also outlines an original soap opera concept set in Folkestone, Kent featuring characters escaping an abusive husband and dealing with threats from the husband's family seeking revenge. Production elements like costumes, locations and an overview storyline are presented for the proposed soap.
2. THE PREMISE After Oceanic Flight 815 crashes, the survivors (The Losties) are forced to adapt to life on a mysterious island.
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9. The show’s non-linear structure is comprised of character flashbacks and flash-forwards that contain a thematic relevance to the situations that occur on the island.
10. Back to the Future, to the Past, and to the Present In season 5, the crypto-drama further complicated it’s narrative structure by employing a frenetic time-travel element. This device begs the viewers to constantly ask themselves “When Are We?”
11. Each survivor harbors their own dark secrets and confront their own personal demons on the island. These shifting protagonists can be viewed upon as tragic failures before the crash of Oceanic 815.
12. Born To Run Jack Shepard-Issues with father/failed marriage Kate Austen-fugitive/wanted for murder James “Sawyer” Ford-Confidence artist who utilized “the long con” to swindle money from his marks. John Locke-suffers a life altering experience at the hands of his father. Also worked with drug dealers and experienced a series of failures that made his pre-island life to be immersed in misery.
13. Strangers in a Strange Land Initially, the survivors are strangers. As the show continues, the audience discovers an existence of connections between various characters.
14. Building a Mystery The island presents mysterious elements and secret societies that initiate fan gossip. These elements include: The Smoke Monster The Mysterious French Woman The Black Rock Jacob The Hatch Secret Society s1-The Losties Secret Society s2-The Tailies Secret Society s3-The Others Secret Society s4-The Freighter People Secret Society s5-The Dharma Initiative
15. TABULA RASAThe Thematic Elements of Lost Redemption and Change Faith and Science The show also presents various instances of thematic inversion
17. Breaking Racial Stereotypes Sayid is Iraqi and former member of the Iraq Republican Guard who the audience views as a one of the show’s beloved heroes. Interracial relationships (Sayid and Shannon), (Rose and Bernard). The seamless and abundant use of subtitles for storylines involving Jin and Sun. Instead of being written with racial stereotypes, each character is presented with depth and complexity.
18. The Personality of Cult They are objects of exceptional loyalty and commitment. Unique Style (Pushing Daisies) Intricate Mythology (Battlestar Galactica) Pioneering Themes (Big Love) Controversy (Tell Me You Love Me) Subversive Humor (Arrested Development) Political Standpoints and other topics that defy mainstream sensibility (South Park, Dexter, Weeds)
19. Hopelessly Devoted To You These shows usually have a small but devoted audience ( there are few mainstream exceptions such as Lost and The Simpsons.) The show must create a unique world in which a hierarchy is created that determines one devotion to the show. Fan’s of these shows are able to recite dialogue, create trivia, and transfer the fictional world of the show into their own reality.
20. Elements of Classic Cult TV The complex narrative of Lost contains elements seen in other cult-television classics Sci-Fi/Horror (The X-Files) Supernatural (Twin Peaks) Time Travel (Quantum Leap, J. J. Abrams own Felicity also used time travel as well) Elaborate Mythology (Buffy the Vampire Slayer) Magical Realism (Six Feet Under)
21. Defining the Complex Narrative Complex narratives are long form. They can be multi-episode(ex the 3-part Ferry episode of Grey’s Anatomy), season-long (ex. Buffy’s “big bad”)or multi–year (ex. Lost) arcs. They expect greater engagement from audience-the audience tries to actively understand the complex storyline points. They foreground plot development—character development flows from plot development—relationships flow from plot. They reject the need for closure-they are open text. (ex-Sopranos finale) They have innovative storyline strategies(ex-the premise for 24—24 episodes a season-told in real time –one season=24 hrs) They are unafraid of disorientating the audience.
22. Ch Ch Ch Ch Changes There are various changes that contribute to the rise of the prevalence of the complex narrative Technological Factors TV on DVD –encourage binge viewing (watching an entire season of Lost in one day)and re-watchability VCR’s-Time shifting Internet-extension of program universe—immersion in programs Digital entertainment-interactive video games Cultural Factors TV’s appeal to creators-producer driven medium-attracted people from film such as Joss Whedon, Jerry Bruckheimer, JJ Abrams, David Lynch Economic Factors Rise of newer networks-like the WB, CW—lowered expectations-they had smaller yet dedicated audience that were young and/or affluent. Ex WB/CW-Smallville, Buffy, Gilmore Girls (young, dedicated) HBO-Sopranos (affluent, dedicated)
24. Knockin’ On Heaven’s Door Many major characters have been “killed off” since the show’s inception. In season 3, fan-favorite Charlie heroically sacrificed himself in the third season finale entitled “Through The Looking Glass” In season 4, three major characters appeared to have been killed off in the season finale.
25. America Has Voted……. Reality and Talent Eliminating Shows such as Survivor and American Idol set the stage for showrunners to eliminate major characters from their show’s canvases. When it is leaked that a character will be eliminated on Lost-it generates intense fan speculation which parallel the weekly discussions of “Who Will Be Going Home Tonight.” on American Idol.
26. The Viewers Have Spoken…. The showrunners decided to kill off “Nikki” and “Paolo” because viewers voiced their contempt for these characters through message boards, letters, blogs, e-mails, etc. This is an example of how the cult audience possesses an intense ownership of Lost.
27. We Don’t Need Another Hero Despite the fact that many of the characters perform heroic acts, they also stray from their moral center. The characters are all anti-heroes. Many of these moral relativist have committed acts of murder. The writers provide justifiable motivations for these amoral acts to illicit sympathy from the viewers.
28. Sympathy For the DevilThe Road to Hell is Paved with Good Intentions Michael kills Anna-Lucia and Libby in cold blood to protect his son. Is the protection of family an excuse for committing mortal sin?
29. A Time To Kill These shifting protagonists also have committed acts of murder and heroism.
30. All You Need Is Love Desmond Hume’s romanticism counteracts the darkness that lies in the souls of characters such as Jack, Sawyer, Kate, and Locke. His actions are motivated by his love for Penny Wydmore. Their love story brings a heightened sense of romanticism to the show.
33. For several years prior to September 2004, ABC was in the ratings doldrums. The only successful dramas were the aging NYPD Blue and The Practice. However, neither of these shows were the ratings powerhouses of their heyday. The network was devoid of a signature ratings smash (ex. CBS –CSI, NBC-Friends, Fox-24)
34. A Message in a Bottle to J.J. Abrams The series began development in January 2004 Lloyd Braun, head of ABC at the time, ordered a script based on his concept of a recombinant of Lord of the Flies, Cast Away, Gilligan’s Island, and the reality smash Survivor. After receiving less than desirable scripts, Braun contacted J.J. Abrams, who was at first reluctant to do the show-however, Abrams eventually agreed upon the condition that he could add a supernatural element to it. Abrams developed Lost with the intentions of making it a cult show.
35. J.J. Abrams collaborated with Damon Lindelof, and Jeffrey Lieber and all were credited as co-creators of Lost. Prior to Lost, Abrams co-created Felicity (1998-2002) with Matt Reeves. Abrams then went on to be the creator and executive-producer of Alias (2001-2006) Neither Felicity nor Alias were ratings blockbusters. They both have maintained a devoted cult following through their accessibility in the form of reruns and DVD.
37. Lost premiered September 22, 2004 The show became an instant ratings smash. In it’s first season, Lost garnered an average of 16 million viewers per episode.
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39. Play The Game In a 2005 article published in The Boston Globe, writer Joanna Weiss described Lost as “part metaphysics seminar, part jigsaw puzzle, part scavenger hunt. It is a collaborative experience, a game to be played and shared.” Lost utilizes the videogame aesthetic of uncovering and exploring clues.
40. The Intertexuality of Lost Intertextuality occurs frequently in popular media such as television shows, movies, novels and even interactive video games. In these cases, intertextuality is often used to provide depth to the fictional reality portrayed in the medium, such as characters in one television show mentioning characters from another.
41. Sawyer-isms Sawyer’s nicknames of the show’s characters mostly consist of pop culture references. The viewer’s knowledge of these references also determine their level on the cult hierarchy.
42. SAWYER-ISMS Locke “Colonel Kurtz” (Apocalypse Now) Ben “Gizmo” (Gremlins) Kate “Sheena” (Sheena: Queen of the Jungle) Jin “Mr. Miyagi” (The Karate Kid) Jack “Hoss” (Bonanza) Ana-Lucia “Hot-Lips” (M*A*S*H) Hurley “Stay-Puff” (Ghostbusters) Walt “Tatoo” (Fantasy Island)
43. Alex, I'll Take Lost for $1,000The Trivia of Lost The show makes extremely subtle references and connections to pop culture to maintain strict parameters around fandom. For Example - this was the name of the book that was being discussed in Julia’s book club in the season three premiere episode?
44. Break On Through to The Other Side Not knowing that it is “Carrie” is enough to break through the fandom parameters. To break through to the other side, one must also have to make the connection that the principal in the book is named Henry Grayle which bears a striking similarity to “Henry Gale” - Ben’s pseudo-identity.
45. Literary References Lost features numerous references to classic and modern literature. Some of the referenced titles include: Carrie-Stephen King Catch-22-Jospeh Heller Through the Looking Glass-Lewis Carroll The Fountainhead-Ayn Rand Heart of Darkness-Joseph Conrad Moby Dick-Herman Melville The Pearl-John Steinbeck Harry Potter-J.K. Rowling Valis-Phillip K. Dick The Wonderful Wizard of Oz-L.Frank Baum Evil Under the Sun-Agatha Christie Dirty Work-Stuart Woods
46. You Know My Name Fans also research character names to make a connection by the real-life figures with the fictional characters. John Locke, Desmond “David” Hume and Rousseau are named after historic philosophers. Anthony Cooper, Locke’s father, is named after Anthony Ashley-Cooper who was a mentor to the philosopher John Locke in 1666.
47. Servant of God/Servant of the Island? The real-life Dr. Richard Alpert (aka Ram Dass) is a noted psychologist and Hindu spiritualist. In 1963, he was dismissed from Harvard University for his research (in collaboration with Timothy Leary, Aldous Huxley, Allen Ginsberg and others) into psilocybin, LSD-25, and other psychedelic chemicals. He later traveled to India, where he was given his Hindu spiritual name "Ram Dass", which translates as "Servant of God".
48. Hurley’s Numbers In the Hurley-Centric episode “Numbers”-the viewers were presented with this mysterious number configuration. Variations of these numbers also play various roles within certain story elements-however their significance has yet to be revealed. Fans attempt to uncover the connections of these numbers to the plot to climb the cult hierarchy.
49. Time Is WaitingWe Only Got 108 minutes to Save the World In season two, the numbers were also revealed as a code that must be entered into a computer every 108 minutes to prevent catastrophic consequences. The computer was found in an area known as The Swan (the hatch) on the island. The numbers were also imprinted on the outside of the hatch. Coincidentally, the sum of Hurley’s numbers 108. Since Hurley won the lottery with these numbers (but then had bad luck since)—millions of people in real life played these numbers in their state’s lottery drawings.
50. Something to Talk About Through blogs, message boards, websites, published novels, etc.-fans of the show can climb the cult hierarchy by fan gossip and reading the interpretations and theories presented. Many media theorists believe that Lost could not have existed in the pre-internet era. Some popular Lost sites include: thefuselage.com, thetailsection.com, abc.go.com/primetime/lost lostpedia.com
51. Narrative Pyrotechnics Jason Mittel describes the narrative spectacle as moments that push to the foreground the operational aesthetic which calls attention to the constructed nature of the narration and entices the viewers to marvel at how the writers accomplished such a feat.
53. Flashback: Moonlighting “Atomic Shakespeare” from season 3 took its principle cast and recast them in roles from the taming of the shrew. The viewers were watching actors that they knew in roles that were foreign to the standard Moonlighting narrative.
54. Flashback: Angel “You’re Welcome” from season 5 featured the character of Cordelia Chase recovering from a coma and assisting the gang in a fight against an evil opponent. At the end of the episode, the viewer learns that Cordelia never recovered from the coma and actually died. Viewers were then propelled to rewatch the episode and detect the dim arrows that signified that Cordelia was not corporeal.
55. Dim Arrows Dim Arrows are the opposite Of Flashing Arrows which author Steven Johnson refers to as narrative signpost which are planted conveniently to help the audience keep track of what’s going on. On Lost, dim arrows are the subtle clues that usually can be retrievable in re-watching an episode. Active viewers are able to locate the dim arrows within the episodes.
56. Lost in the Masquerade Deception on Lost is conveyed eloquently with the application of narrative pyrotechnics. Practically every episode employs visual masquerades to render the viewer speechless and deceived. The showrunners apply various types of strategies to masquerade the settings, timeframes, and the reality of images that are being presented to the viewer.
58. Through The Looking Glass On May 23, 2007, ABC aired the third season finale of Lost entitled the critically adored and audience favorite episode entitled “Through the Looking Glass.” The exhilarating episode contained the death of a major character, the mysterious re-appearance of Walt, a hope of a rescue, and a sensational twist that presented a new presentation of the show’s narrative. Executive producers Damon Lindelof and Carlton Cuse called the twist “the snake in the mailbox.”
59. GOTCHA! In TV Guide, Lindelof and Cuse explain: “We’re calling it ‘The Snake in the Mailbox.’ We were just joking about how scary, that would be if you came home and you stuck your hand in the mailbox and there was a snake in there. So we thought, ‘Well, that’s actually a good metaphor for the surprise of our Season 3?”
60. An Example of a Dim ArrowFrom “Through the Looking Glass”
62. Find Your Way Back On January 30, 2008 ABC re-aired the “game-changing” third season finale “Through the Looking Glass.” The episode aired the night before the fourth season premiere. The "enhanced" version of this episode included text on the lower third of the screen and was designed to “let viewers in” on clues in the show, as well as gave back-story to catch new viewers up for Season Four.
64. The Rising This enhanced presentation of Lost was presented to assist new and returning viewers an opportunity to elevate themselves on the cult hierarchy. In subsequent weeks, ABC presented “enhanced “ episodes of season 4 to help keep viewers high on the cult hierarchy.
65. Flash-Forward uture of Lost
66. SEASON 4: THE OCEANIC SIX The fourth season of Lost premiered in the top ten and the viewer response to the episodes was exhilarating. The use of flash-forwards and the mystery of the “Oceanic Six” offered incredible jaw-dropping revelations such as: --------- is now a killer who is working for -----. Kate is living with -------- which means that ------- could be dead. Hurley is residing in - --------- ------------. Tragically, the audience learned that --------- died. (or did he/she?)
67. Season 4: New Characters of Mystery Season 4 also saw the introduction of 4 new ambiguous characters that added new mystery to the show’s narrative.
68. The Frozen Donkey Wheel Showrunners Carlton and Cuse used the phrase “The Frozen Donkey Wheel” as a metaphor for the fourth season’s spectacular three part finale entitled “There’s No Place Like Home” The two showrunners left viewers asking "What the hell are they gonna do?" with the finale, hinting at another possible change in the narrative structure of the show. "There might come a time in the show where the word 'flash' becomes irrelevant," Lindelof says. "If you stop and think about what we've done this year, there's the story on the island which we perceive to be the present, then there's the story of the Oceanic 6, which is happening off the island in the future. "But if you were to switch perspectives and were off the island, focusing on the Oceanic 6 trying to get back, that would be the present, and what happened back on the island would be either a parallel present, a possible future a possible past, who knows. When you hear the 'whoosh' noise, the question becomes, Where does it take you?"
69. Destiny Found In May 7, 2007, ABC Entertainment President Stephen McPherson announced that Lost will end during the 2009–2010 season with a "highly anticipated and shocking finale.“ “We felt that this was the only way to give [Lost] a proper creative conclusion," McPherson said. Matthew Fox says Lost creators Damon Lindelof and Carlton Cuse will prove they knew where they were going all along when the show ends in "an incredibly powerful, very sad and beautiful way. I think it is going to be pretty awesome.“ The only cast member to know what that crazy smoke monster is and how the show ends said, "I think it is going to be very satisfying and cathartic and redemptive and beautiful. I've talked to Damon pretty extensively and every time I talk to him it's sort of surprising how moving it is just to talk about it."
70. We Have To Go Back! The first half of Season Five centered around why the Oceanic Six must go back to the island. The final scene of the season 5 finale “The Incident” foreshadows another change in the show’s narrative structure for season 6. The intense exploration of such elements of time travel, quantum-physics, and the complex history of the island has left viewers addicted, astonished, ecstatic, and confused. Knowing there is an end date in sight, viewers will be motivated to “remain on the island” and to conquer the highest levels of the cult hierarchy.
71. Unwrapping the Mystery In regards to the final season,Damon Lindelof and Carlton Cuse tease their viewers by saying: “This season, its like the audience is finally opening up a present that was actually bought and wrapped years ago.”
72. The Legacy of LOST Time Magazine lists LOST as one of the greatest television shows of all time. In a way it's a misnomer to call Lost one of TV's best shows—it's a fine show on the level of character and writing, but what makes it a classic is that it's the finest interactive game ever to appear in your living room once a week. An elaborate fractal pattern of intersecting stories concerning plane survivors on a not-quite-deserted island, a secretive international organization and a monster made of smoke, Lost only begins with the 60 minutes you see on TV. Its mysteries, clues and literary-historical allusions demand research, repeat viewing, freeze-framing and endless online discussions. And in a medium where executives assume that viewers will flee anything that remotely challenges them, Lost proves that millions of people will support a difficult, intelligent, even frustrating story—as long as you blow the right kind of smoke at them.