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The runaway hit of ABC’s 2004-2005 TV season, the weekly, hour-long drama Lost TV Show began at a point that in any other case may have been an ending: a passenger jet was torn apart in mid-air, crashing on an uncharted Pacific Island. Stripped of all vestiges of the civilized world, the 48 survivors were forced to fend for themselves in their new tropical surroundings, which departed from the “norm” for similar castaway dramas by boasting a bizarre and frequently incomprehensible topography, not to mention a most unusual variety of wildlife.

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- ABC

Conveniently, the story forces Michael and Locke to work together in order to find and then save Walt from a bad CG polar bear. So the lesson learned is that Michael’s lack of trust for Locke was unfounded. Of course, we really know that it was. The ordeal with the polar bear allows Walt and Michael to grow closer as a father and son who barely knew each other and leads to a touching moment when Michael shows his son the letters that he wrote for him over the course of the nine years they were separated.

A side story that deserves mention is Charlie’s quest to find Claire’s diary. It’s a strange little story that features a couple of pretty funny moments. As usual, it turns out that Sawyer has the diary and after Charlie manages to acquire it we get to see him struggle with his own will power as he attempts not to read it. Again, I still don’t understand why we aren’t seeing a bigger effort to try and find Claire or at least find out more about these others on the island, but at least she’s being mentioned… and utilized for comic relief.

The shocking conclusion is actually a little underwhelming. Locke and Boone, while searching for Vincent, stumble upon a dazed Claire in the jungle. Her appearance is definitely unexpected but after very little mention of her disappearance during the last three episodes, it feels somewhat anticlimactic. I almost expected Locke to say, “Hey Claire, we were going to start looking for you but Hurley started another round of golf.

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Fire+Water

4) In Short

“I want a new drug/One that won’t get me hit.”

On the Island

Merry Christmas, little Charlie! He bounds into the living room, looking for presents. But while Liam has plenty under the tree, Charlie finds nothing. Turns out Mom got him one big present: a new piano. This piano comes with a price, however: a heaping dose of guilt from Mom about how his musical talent will save the family.

Things go from guilty to straight up odd as elder Liam shows up, in a diaper, telling his baby brother to save them. Soon, the Charlie we know and semi-like appears at the piano. Aha, dream sequence! Next, Charlie’s father appears, butchering meat and dolls, and before we know it, Charlie’s on the beach, doing his best impression of Holly Hunter in The Piano. He hears Aaron crying inside the belly of the piano, but is distracted by movement in the jungle. Just before he wakes up in a cold sweat, he sees the piano carrying Aaron into the ocean.

Upon waking up, he checks on Aaron, who is not in his crib. He frantically asks Sun if he and Claire are OK; she leads him to their general direction. He’s pleased to them alright, until he spies with his ex-heroin addicted eyes one John Locke in the place he feels is rightfully his: by their side.

Later on, Charlie brings Claire some hand-made nappies. He tries to make amends, to no avail. Claire’s still mad about Charlie’s lies about the statue. She wants space; he wants things to go back to the way they were. Guess who wins?

Hurley, in his effort to let everyone on the Island know about his crush, asks Sawyer about Libby. Kate and Sawyer give him a good-natured ribbing about it, then turn their attention to Ana Lucia and Jack, who have apparently spent a good deal of time together recently. Sawyer insinuates the two of them have been getting busy. Yea, getting busy forming an army, dude.

Dream time, as Charlie sees Aaron’s crib floating into the ocean. Charlie swims out to get him, which is ironic, given that in Season 1 he told everyone he couldn’t swim. Upon returning to shore, he sees his mother and Claire, arranged as if in the painting “The Baptism of Christ,” seen in Charlie’s home in flashback/dream earlier in the episode. They speak in canon (no, not THAT type of canon, THIS kind) over and over that Charlie must save the baby. Then, a burst of light produces a white dove casting a black shadow. And there, lookie, it’s the Son of God, himself, Hugo! Hugo’s mom would be so proud.

Hurley’s voice breaks him from his dream, during which Charlie sleepwalked down to the shore in the middle of the night with Aaron in his arms. Our British rocker has no idea how he got there. He and Hurley hear Claire’s frantic cries from nearby as she screams for Aaron. Charlie apologizes for what’s happened, and gets a slap to the face for his troubles. Don’t worry, Charlie, this won’t hurt as much as what’s coming up. Or as much as it hurts to watch this episode again for yours truly.

The following morning, Hurley and Sawyer are playing blackjack. Sawyer spies Libby nearby, and suggests he make his move on Libby. In true Sawyer fashion, he embarrasses Hurley by calling out to her, but honestly, it’s all in good fun because I think the Sawyer/Hurley dynamic is one of the best on the show. Especially by the end of Season 4, there’s an intense level of camaraderie there. But I digress.

Charlie waits for Locke to come out from his shift inside the Swan. He wants Locke to put in a good word for him with Claire. Locke wants to know if he’s using again. Charlie angrily notes he’s burned the plane to ashes, but doesn’t answer the question directly. Locke notes this, and although Charlie insists all the drugs are gone, John suggests he give Claire some space.

Libby and Hurley are doing laundry in the Swan. She notes that the washer/dryer is newer than everything else, which gosh darn it, is an odd thing to say, no? She wants to know if a shirt she found on the beach would look good on her, but Hurley’s suddenly sure he’s seen her somewhere before. She quickly changes the subject, turning him around so she can try on this all-important shirt. While putting on the new shirt, Libby tells Hurley that he stepped on her foot while boarding Flight 815. By the time Hurley turns around and catches a glimpse of her, he’s forgotten all about his earlier line of questioning.

Near the beach, Charlie runs into Eko. Eko’s marking trees for a mysterious purpose. While talking about his recent troubles, Eko’s intrigued by Charlie’s recent dreams. The description of them leads Eko to suggest that perhaps Charlie needs to save Turnip Head after all. This leads Charlie to rush to Claire’s tent, where Kate is standing pat as bodyguard. Charlie insists that Aaron needs to be baptized. The camera pans around Locke’s bald head, much as it did during Season 1’s “Tabula Rasa.”

Ana Lucia inquires about Jack’s encounter with Mr. Friendly in the jungle as the two forge her rain tarp. Ana Lucia coyly asks if Jack fancies Kate. OK, she in fact asks if he’s “hittin’ that.” Smooth talker, Ana Lucia. Ah, yes, all this supposed sexual tension that went freakin’ nowhere. Such a good use of episode time.

In the jungle, Charlie goes to his secret stash of heroin. He pulls out one statue, breaks it, and eyes the contents longingly. Locke walks in on the scene, confirming his suspicion earlier in the episode/season. He takes the stash with him, unwilling to let Charlie make the decision to use this time. He begs Locke to not tell Claire about this, but Locke insists that Charlie’s lost the right to be believed.

Later that day, Locke asks Claire how “our boy” is. Ick, I need a shower. She wants to stay in the hatch for a while; Locke reminds her that an alarm will wake him up every 108 minutes. But he does offer to move near her tent for a while, which makes her happy. She segues into a discussion about baptism, wondering if Charlie’s assertion was correct. Locke calls it “spiritual danger,” and insists that Charlie is merely displacing his fears about himself onto the baby. Apparently Locke’s been watching a lot of Dr. Phil down in the hatch.

That night, Charlie sets a fire in the woods, enabling him to take Aaron to the water in the ensuing distraction. Get it? Fire? Plus Water? Ugh. Punch me in the neck. While Sayid leads the charge to save the camp, Anakin Pace snags the child and brings him to the water’s edge. Locke and Claire corner him, and soon, all watch Charlie melt down. Charlie insists that he won’t hurt the baby; Claire insists that he’s hurting her. Charlie eventually hands the baby over to Locke, who hands it over to Claire, who watching Locke beat the holy hell out of Charlie, giving Charlie a baptism of fists. And thus starteth the “Bad Charlie” arc. Someone wake me up when it’s over.

The following morning, Charlie is treated by The Moralizer himself, Jack. The good doctor treats his Locke-inflicted wounds, while telling Charlie to promise he’ll never do something like the fire again. He insists he didn’t use. For the second time this episode, a character notes that Charlie didn’t answer a direct question. Charlie promises it won’t happen again, and gets a stitched face for his answer.

Claire approaches Eko in his tree-lined sanctuary. She wants to know if baptism is necessary for Aaron. He explains that when John baptized Jesus, a dove appeared in the sky. (Ooooh. I get it. All those years of CCD for nothing, I suppose. Thanks, Lost!) As Eko baptizes the mother/son combo, Locke puts the Virgin Mary stash in the Swan armory.

On the beach that night, Charlie pulls the hood over his head. At last, he will reveal himself to the Jedi. At last he will have…revenge.

15) Off the Island

Charlie is in the maternity ward of a hospital, where Liam’s wife Karen has given birth to their first daughter, Megan. Turns out Liam didn’t make the trip to the hospital, too much in his drug world to see the birth of his child.

Back at their flat, Charlie cleans up after his big brother, both literally and figuratively, while Liam groggily wakes up from his heroin-induced stupor. Liam learns about his daughter, and we learn that Megan was the name of their mother.

We’re on set with Driveshaft, and they’re dressed up as babies inside a giant crib. “You All Everybody” has turned into “You All Every Butties.” Looks like Liam’s habit has cost the band some cred and a heap of cash, thus this infantalized video shoot. Liam can’t even make it through one take of the commercial, causing the director to call it quits and fire the band.

Charlie’s back at the piano in his flat, interrupted by Liam. Turns out Karen kicked him out, deeming him dangerous around the baby. Dropping a child will do that to a mother, Liam. He’s freaked out: no money, no future, no hope. But Charlie has hope: he’s writing again. He sings a song that sounds to my ears like bad James Blunt, but Liam seems into the track. He’s ready to work on the song all night: but only if Charlie has any heroin.

Upon arriving home at some point later, Charlie’s shocked to find his piano missing. Liam, good brother that he is, has sold it not for drugs, but a ticket to Australia for him and his family. A job and rehab awaits him there. (So now we know how he ended up there.) Charlie says that’s all well and good for Liam, but what about for him? What about his family? Huh? Huh? Ugh.

16) The Mythology

I’m not chalking up Charlie’s visions to Island weirdness so much as “bad creative decision.” The overt religion in this episode strikes the wrong tone to these ears, not because I’m anti-religion so much as the show has never gone so overtly in this direction before. And even with Eko remaining on the show for a while, never really returned to anything this direct again. It’s a singularly direct reference, and I’m not sure one that works.

After all, Kate’s horse doesn’t come from the Bible. But Charlie’s dove does. And yes, one can argue that his Christian upbringing influenced Charlie’s visions, and the Island simply tapped into that guilt in order to provide a method by which to protect Aaron from the danger to come. But to specify this into the Christian rite of baptism takes everything into a specific direction that defies broad interpretation. The Island is straight up telling Charlie to baptize that baby.

But why the heck would the Island do that? If you want to argue that the Jacob-like forces of the Island want to shield Aaron from the Cabin Christians to come via Charlie in this episode, that’s fine, but you have to explain to me why the Jacob-led forces wants baptism specifically, when nothing about the Island so far has even a whiff of Judeo-Christian doctrine governing it. The Island deals with a person’s belief system, but doesn’t seem too concerned with one’s personal choice of God versus personal choice of morality.

I’d be interested to get your take on this, readers. I’ve tried to lay out what I think is the counter-argument to those who see Charlie’s visions as Island-specific; I’m just not convinced they are enough to warrant their inclusion in this episode.

23) The Moment

Is it wrong of me to say “when the end credits started rolling”? Probably. Oh well.

42) In Retrospect

At the time I watched this, I felt the whole Locke insertion into the Claire/Charlie storyline was baloney. Not necessarily because it felt like forced conflict inserted into a relatively calm situation so much as John Locke should care about NOTHING except that button. Nothing. Even if he’s not on shift, he should be slowly enveloped in the power of that countdown, making his eventual discover in the Pearl that much more devastating. Instead, you barely get a sense he even remembers all the work that went into opening the Swan up, and the sense of purpose established after initially entering the code is Desmond’s absence.

I will say this, however: I can’t help but feel these scenes give added weight to when he sees her in Jacob’s cabin in Season 4. One gets the idea that Locke intuitively sought to protect one of the Island’s biggest assets (Aaron) during this phase of Season 2, making his decision to not tell anyone about Claire make more sense and also add to the tragedy of his silence.

108) In Summary

You get that I didn’t like this episode, right? I mean, do you really need more exposition? At the beginning of rewatching Season 2, I thought I’d unfairly judged its quality in the interim. After all, the first few episodes crackle with mystery and mythology, leading me to think I needed to change my tune about this season. And then I remembered why I rank this season last amongst the four: no other individual season has this many episodic stinkers.

My issue with this season is NOT that the answers come slowly, if at all: it’s that we get forced drama and unenlightening flashbacks. Charlie Pace needed exactly two flashbacks: his first in Season 1 and last in Season 3. Everything you need to know about that character is in those two. Moreover, as mentioned earlier, the tension with Claire feels more derived from a sense of the writers needing to give something Charlie to do rather than an organic decline of character.

But don’t worry kids: only two more episodes before Henry Gale shows up. Strap in for that.

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Two fan favorite “Lost” cast members, Matthew Fox and Evangeline Lilly are reportedly in talks with the show’s makers to obtain a pay raise in order to stick with the island drama.

According to Hollywood reporter, both actors, who have been with the show from the very beginning and play leading roles, Jack Shephard and Kate Austen respectively, are asking for a raise, their paychecks currently being at about $150,000 per episode.

However, the word of their “quiet” negotiations spread out fast and agents for some of the other regulars on the show have asked for talks with “Lost” producers as well, supposedly seeking the same as Fox and Lilly.

The other regulars on “Lost” currently cash in between $80,000 and $90,000 an episode, almost half the amount Fox and Lilly already earn. If the producers cave in to their demands, especially since their characters are key to the “Lost” story line, the talks could end costing ABC studios a lot especially if one puts any price on the fact that Terry O’Quinn (John Locke), Michael Emerson (Ben Linus), Henry Ian Cusick  (Desmond Hume) and Naveen Andrews (Sayid Jarrah) have each earned at least one Emmy nominations for their performances (with O’Quinn taking the statuette for best supporting actor).

Among one of the best-acted shows on TV at the moment, “Lost” wrapped up its  fourth season in May solving less mysteries than the ones it introduced leaving fans guessing while eagerly awaiting for the next season. (Last episode of the season concluded with John Locke in a coffin.)

Both Fox and Lilly’s characters are part of the Oceanic Six, a group that made it back to civilization last season and are part of an elaborate cover story about what really happened after their plane crashed.

“Lost” producers announced last year that the final season of the series would air during the 2009-2010 broadcast year after three more seasons consisting of 16 consecutive episodes (one of which already ended).

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And now I know why I was so fuzzy on it: because this episode made me want to curl up into a ball and die with all the overly realistic ways in which Jack tries to keep Boone alive. Sweet Jeebus, this is not my cup of tea. I can fairly say that I purposefully forgot the details of this episode just so I could get a peaceful night of sleep. Oh well, the sacrifices I make for you, the readers at home. Hope you can sleep well tonight, even if I can’t.

Do No Harm

4) In Short

“Boone falls up the plane, Boone falls down the plane.”

On the Island

It’s literally right after the events of “Deus ex Machina,” with people frantically trying to help Boone. Jack co-opts Sun as his primary assistant, while ordering others to get the necessary equipment needed to help him. But everything stops when Boone’s lung collapses, forcing Jack to literally drive a hole into Boone’s chest. All together now: holy crap. Jack assures Boone that he will save him. Unfortunately, he cannot rebuild him, in that he does not have the technology.

On the beach, Claire asks Michael how long until the raft will be complete. Michael thinks it’s a week from being done. Jin works through the impromptu lunch break, as if a man possessed. Kate interrupts the lunch, seeking all the alcohol in Sawyer’s stash. Sawyer offers to help, but Kate insists they have enough people in the caves.

In the caves, they’ve set up a makeshift surgical ward. Boone needs a blood transfusion, but Jack decides to set his leg first. Sun essentially sends Jack from the ward, to get some air. Jack walks smack dab into a panicked Charlie, who prompts Jack to lose his cool thanks to his insistent questioning. Sun’s on point, luckily, providing a stick for Boone to chomp down on as OH MY GOD JACK JUST REBROKE HIS LEG AND EEEK THIS IS WHY I COULD NEVER BE A DOCTOR OH MOMMY MOMMY HOLD ME.

Kate manages to trip, fall, and bust open every nip of alcohol in her bag in her rush to get back to the caves. However, she manages to come across Claire, who, as luck would have it, is in labor. This is like a sweeps episode of E.R. at this point. Kate shouts for help, and the only person who hears her is Jin. He bounds into the jungle, because he’s Jin and he’s effin’ awesome. He eventually comes upon the scene, and instantly regrets his inner morality. Seriously, his initial “Oh!” is one of my favorite Season 1 moments.

Back in the caves, Sun continues to play “Calm Doc” and Jack plays “Pretty Much Freaking Out Doc.” Boone reveals his blood type (A negative), which sends Sun on a scavenger hunt. Jack tells her to find Shannon as well. Too bad she’s out in the jungle with Sayid. Nice to see the show remembered it forced these two into a relationship that nobody bought. Awww, Sayid set up a surprise fire-lit picnic date! Kick me in the face.

Back at the Caves of Pain and Misery, the group’s having little to no luck finding blood. If you want a comparison, think about the trouble Ian Somerhalder had finding work after this episode. Once again, Sun saves the day, finding a sea urchin with spines that could function as needles. Sun’s batting 1.000 so far in this episode. Turns out Jack himself is O negative, a universal donor. That’s good. Course, his blood could also send Boone into shock, never mind render Jack woozy and unable to operate at peak performance. That’s bad. Much like the cursed frogurt from The Simpsons, there are pros and cons to this.

Jin runs into the caves to find Jack, and it’s hard to tell what he’s more surprised by seeing: Boone on the makeshift table or his wife as his makeshift nurse. Fantastic moment. The camera pans slowly over the impromptu IV drip, and now I remember that I blocked all this out because I get all Hurley around blood. Jin drops the Claire knowledge, leading to a series of awkward exchanges all around. All the while, Jack gets woozier and woozier. This is the first time Jack and I have ever had anything in common. Jack gets Charlie all the necessary instructions for childbirth, as he won’t be able to leave Boone’s side.

In the jungle, Claire’s water breaks. In the caves, Boone’s silence breaks. Boone tells Jack about the plane that fell on him, which piques Jack’s interest. Mention of a “hatch” further confuses Jack. After that, all Boone can do is mutter his sister’s name, but she’s too busy making googly eyes with the Iraqi down at Craphole Island’s equivalent of Sandals. Shannon finally tells Sayid her relationship with Boone (at least, the PG version of it).

Charlie and Jin catch up to Claire and Kate. Ms. Austen freaks more than a little out when she realizes she has to deliver the baby. Claire freaks out that there might be something wrong with the baby. And back in the caves, Jack freaks out that he might not actually be able to save Boone. As Charlie might sing, “Freak out, everybody!”

Jack realizes that Boone’s leg is undoing all the work from the transfusion. Sun stops Jack from donating more (Sun doubles down the line!), which prompts a now very sallow Jack to ask Hurley to fetch Michael from the beach. The two men ponder the age old question of, “What remaining tool in our arsenal is best equipped to chop a man’s leg off?” Remember when the show was devoid of hatches, bungalows, and food drops? The show featured a lot of this type of stuff. No wonder Dharma constructed New Otherton. They couldn’t take this type of lifestyle either.

Claire’s trying to hold her breath to stop the contractions. She fears her child will intuitively know she tried to give it away. Kate steps up, Sun-like, and helps convince Claire to push for the sake of her, her child, and the Lostaways as a whole. Some of Evangeline’s best work of the season here.

Welcome to Amputation Theatre. I swear to God, this scene plays tense as hell, but not as tense as the first time, where I further swear to God I was convinced they were going to actually go through with this and turn Boone into an emo version of Lt. Dan from Forrest Gump. Luckily, they didn’t, and you could surmise that fact by noting I am alive and not very dead, having been felled by a heart attack when this initially aired. And who stops it? Boone, who is put into the awkward position of telling Jack to let him die, that he’s “letting [him] off the hook.”

Cue Elton John, as the circle of life turns fully: Boone dies as Claire’s son is born. It’s a magnificent sequence not simply for the two plots converging so nicely but for watching people we’ve grown to know (a little) and love (a lot) share the most important moments of their lives together, celebrating life with each other and seeking solace from grief in each other.

The following morning, a wordless sequence in which Claire’s child is presented to the Lostaways. Joy turns to grief as Shannon and Sayid return from their romantic excursion, with Jack relaying the bad news to the couple as the quintessential Lost musical motif plays. Freakin’ motif makes me cry every time.

Jack declares the baby fit as a fiddle to Kate. He also declares one other thing: his intention to find John Locke, whom he believes murdered Boone. Looks like Jack and Locke might have a bit of an argument brewing, wouldn’t you say?

15) Off the Island

Jack’s tying a bowtie onto his friend Sullivan, dressed in a tux. It’s Jack’s wedding day. Well, it will be soon, at least. For now, we have the rehearsal dinner, in which Sarah, Jack’s fiancée, tells the story of how they met. It’s the old chestnut of “boy meets girl after girl drives over the median and slams into an oncoming SUV, boy manages to cure what others consider to be inoperable spinal damage.” You know, that cliché. She thinks Jack is the type of man who fixes things.

He’s also the type of man who plays the piano, turns out, as Sarah catches him that night tickling the ivories in the hotel lobby. She joins him for a duet of “Heart and Soul.” Turns out Jack’s having a hard time writing his vows. My wife and I had that problem as well, which is why we simply quoted from Meatloaf’s “Paradise by the Dashboard Light.” Nevertheless, while these two are nominally talking about vows, one gets the impression that there’s more going on beneath the surface here.

Jack is drinking alone by the pool later on. Christian settles in beside him, having smelled the booze from 4,000 yards away. Papa Shephard reads Jack’s vows-in-progress, only to find out they are Sarah’s, not his. Jack’s got writer’s block. The two have a heart-to-heart, in which Jack betrays a few fears he has. He wonders if he only proposed to Sarah because he saved her life. Christian replies that while Jack has no problem with commitment, but that he does have a problem knowing when to let go.

It’s Jack’s wedding day, with Sarah flawlessly reciting her written vows. Time for Jack’s sage words: “Sarah, when you were talking about the accident — you got it all wrong. I didn’t fix you. You fixed me. I love you, Sarah, and I always will. At least until I meet a hot chick on a deserted island with a propensity to say, ‘I’m coming with you,’ at least once per episode.” OK, maybe I paraphrased that last bit. He said with his eyes, though, trust me.

16) The Mythology

None present.

23) The Moment

Boone screaming in agony after jack re-sets his leg. Youch.

42) In Retrospect

1. Loved seeing Jack play the piano, given his penchant for doing so in New Otherton. I don’t think it has much mythological significance so much as psychological: it’s what the guy does when trapped in something from which he doesn’t know how to escape.
   
2. Can’t help but wonder, given Christian’s role in the show now, what function Jack’s marriage to Sarah serves his overall agenda. Moreover, given the overabundance of car crashes on this show, and the person also involved in Sarah’s crash, can we really say Sarah wasn’t led directly into Jack’s life?
   
3. My wife pointed out that it’s fitting that Kate first holds Aaron, given her off-Island relationship to Turnip Head. I wouldn’t give the show credit for thinking that far ahead, but I will say that it makes later events make perfect sense. After all, Kate would have an extremely primal association with this child, and would be fit for tending to him in Claire’s absence.
   
4. While blindingly obvious even upon first viewing, Jack’s “don’t tell me what I can’t do!” line binds him ever more with Locke upon later viewings. The two really aren’t as different as they think; they are merely individuals with different skill sets and weaknesses that offset each other. Too bad they really never had a chance after Boone’s death to exploit this relationship for the good of themselves or the Island.
   

108) In Summary

More so than any episode in the series, this strove to show the difficulty of simple survival on this Island. In time, the Island would reveal showers, washing machines, and even CD players, but this episode played it hard, played it real, and above all, played it MEAN.

But amidst all the blood and pain and trauma, there was genuine compassion as well. Sun essentially keeps Jack sane, while keeping Boone alive as long as possible. Kate steps up in a big way, saving Claire’s sanity (and her son’s health) through her quick thinking and clear purpose. And a host of other people selflessly helped out whenever possible, taking a group of cohabitating people are turning them into a family overnight.

Course, with Jack’s last words of the episode, looks like that family might start splintering sooner than we’d like.

Leave your thoughts about this episode below!

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Of all the casualties on last night’s “Lost” finale, the most surprising one was already in a casket. The two-hour concluding episode of one of the best seasons of “Lost” ended with viewers finally seeing that it was arch rival John Locke in the casket that Jack went to visit in the Season 3 finale.

Of course, that only brought up another question: How did Locke get off the island?

That wasn’t the only big event. The earth moved - literally - when the island disappears. (Ben activated a time-travel machine, if you must know.)

The Oceanic Six, as they were dubbed this season, were in the helicopter when the sea swallows the island.

Viewers were left to wonder until next season what happened to rest of the survivors when the mysterious island disappears beneath the waves.

The much-hyped finale capped off the island mystery’s fourth season - a year that finally filled in some of the holes in the rich and complicated storyline.

And with a definite end in sight - the producers have agreed to two more seasons, ending the show in 2010 - viewers came back this season to get caught up in the lives of Oceanic 815 survivors.

Among the highlights last night:

* Desmond and his beloved Penny were reunited - in one of the few happy moments in the episode - aboard a rescue boat that discovers the survivors of a helicopter crash.

* Early in the episode, Sawyer - seemingly among the “safe” group with Jack, Kate, Sayid and Hurley aboard the helicopter headed off the island - sacrificed himself to save the others. When the ‘copter sprung a fuel leak and needed to lose weight to make it back to the freighter, Sawyer jumped from the whirlybird. He swam back to the island and was with Juliet when the island disappears.

* Jin, Desmond and Michael had a bomb to deal with on the freighter, which was triggered when mercenary Keamy died from stab wounds inflicted by Ben. Sun, aboard the rescue helicopter, witnesses her husband’s death from the helicopter when the bomb goes off.

Still unanswered by the finale was the fate of new mother Claire, who popped up in the finale as a ghostly figure in Kate’s dream.

Who is Jeremy Bentham + More Spoilers & Video Spoilers after the jump…

During the finale we keep hearing about this character who is visiting all the oceanic six named Jeremy Banthem. When Sayid goes to visit Hurley in the mental hospital he does not even like to utter Mr Banthem’s name. At the end we see its John Locke.

If you remember early we saw Jack at a funeral for someone. The newspaper clipping was like J—– -anthem. Then never showed who the funeral was for. I guess we know now.

The name Jeremy Bentham. It’s yet another moniker on this show borrowed from real life. Bentham was a philosopher (a contemporary of the real John Locke…yikes) who, according to this early but dead-on “Lost” theory, proposed the idea for the Panopticon, a type of prison:

“The concept of the design is to allow an observer to observe (-opticon) all (pan-) prisoners without the prisoners being able to tell if they are being observed or not, thus conveying a ’sentiment of an invisible omniscience.’ In his own words, Bentham described the Panopticon as ‘a new mode of obtaining power of mind over mind, in a quantity hitherto without example.’ ”

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If you don’t recognize the name, you’ll likely recognize the face. Naveen William Sidney Andrews is the sexy British star of Indian descent on the hit American TV series Lost, but is also well-known for his role on The English Patient back in 1996.

Naveen Andrews was born in London, , on January 17, 1969, and became famous for his “scandalous” romance with his math teacher, Geraldine Feakins, when he was only 16 years old, and with whom he had a son seven years later (in 1992), named Jaisal.

After high school, Andrews went on to study at London ’s Guildhall School of Music and Drama, along with actors Ewan McGregor and David Thewlis. In 1991, he landed his debut film role in Hanif Kureishi’s London Kills Me, which starred Justin Chadwick as Clint Eastwood, Steven Mackintosh, Emer McCourt, and Roshan Seth.

He appeared in a few lesser-known films, TV series and made-for-TV movies until he landed his breakthrough role as Kip in the critically acclaimed film The English Patient in 1996, alongside Ralph Fiennes, Juliette Binoche, Willem Dafoe, Kristin Scott Thomas, and Colin Firth.

He also recently starred in Bride and Prejudice, the 2004 “Bollywood” adaptation of Jane Austen’s Pride and Prejudice as Balraj Bingley (the character of Charles Bingley), co-starring Aishwarya Rai as Lalita Bakshi (the character of Elizabeth Bennett), Martin Henderson as William Darcy, Nadira Babbar, and Anupam Kher.

But Andrews is now most known for portraying Sayid in the extremely popular TV series Lost, which premiered in 2004 and is still going strong. Lost is about a group of survivors from a plane crash forced to live together on a remote, dangerous island, and co-stars Matthew Fox, Jorge Garcia, Josh Holloway, Daniel Dae Kim, Yoon-jin Kim, Evangeline Lilly, Dominic Monaghan, Terry O’Quinn, and Emilie de Ravin, among others.

Andrews, who is also a guitarist and a singer, was voted one of People magazine’s “World’s Most Beautiful People” in 2006.

Andrews is currently dating actress Barbara Hershey and the couple lives together in L.A. When he and Hershey were separated for a time in 2005, Andrews had a child—his second son all together—with another woman, after which he and Hershey got back together.

Interestingly, Andrews is actually a recovering alcoholic and drug addict. His most difficult times were reportedly in London during his early 20s, which almost ended his budding acting career. He ended up moving to the for rehabilitation and ultimately succeeded.

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