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James Ford shows tremendous growth throughout the course of the show, from Sawyer, the mean-spirited loner, casually racist misanthrope, brooding antisocial jerk who pushes everyone away out of fear, to LaFleur, respected leader in the Dharma Initiative, committed partner to Juliet, a practiced and conscientious diplomat. The Sawyer we meet in the first collection of episodes is afraid to let anyone close, traumatized by the murder-suicide of his parents at a young age. He is driven almost entirely by vengeance, bloodthirsty for the man who conned his mother and father and left him an orphan. In the time shortly before the crash, he has abandoned Cassidy and his feelings for her, stealing all of her money and leaving her pregnant with his child; he has been to prison where he reinforced his worldview of self-interest and manipulation by conning his way to freedom; more recently, he killed a relatively innocent man after being manipulated into thinking that he was the real Sawyer. It's an understatement to say that Sawyer enters Lost in a bad place. The philosophy he has cultivated from the time he was a child leads him to push everyone else away, to deliberately make himself the pariah of the group by antagonizing the others, getting into fights, hoarding food and supplies for the sake of extortion, even lying about having Shannon's asthma medication past the point of being tortured. Sawyer has so convinced himself that he's the bad guy, the scumbag, the bottom feeder, that he has become the man he himself was chasing, that it seems impossible for him to ever break out of this pattern and become a decent person. As he aptly puts it to Charlie in The Long Con, "I'm not a good person, Charlie. I never did a good thing in my life."
Sawyer's growth and redemption are a slow process, with setbacks such as killing the tree frog in front of Hurley, revealing Kate's criminal past to the entire group to secure his place on the raft, and most notably his plan to briefly abduct Sun and steal the camp's supply of guns and medicine. However, key events in season 3 start to move him toward the path of growth into the man he will become. While a captive of the Others, he has a crucial near death experience that breaks his spirit for a while, Ben's pacemaker trick causing him to settle down and curb some of his rebelliousness out of fear his heart will explode. On a larger note, his on/off with Kate blossoms into a sexual relationship, and Kate even says that she loves him as he is being held at gunpoint by Pickett. Against his better judgment, Sawyer has let Kate in closer and closer, despite his fear of intimacy. At times when she's gotten too close, he has pushed her away, as in the climactic letter scene of Confidence Man and the drinking game scene of Outlaws, but while imprisoned on Hydra Island believing himself to be a dead man walking, he opens himself up and I would surmise he's able to let go of a lot of lingering feelings for Cassidy, feelings he had had to push aside for his own self-interest as well as her safety.
The Sawyer that returns to camp in Tricia Tanaka is notably lighter, a man who has gotten a new lease on life. He is still a shithead, an underachiever, ostensibly only tags along on the van plan for the sake of shits, giggles and 20 year old Dharma beer, but a lot of the sulking and cruelty tha typified earlier Sawyer scenes is gone as he playfully exchanges barbs with Hurley (touche!) and teaches Jin all the English any husband ever needs to know. Still, his transformation is a work in progress, one which suffers another setback when he is forced in Expose to confront what he had Charlie do to Sun a season earlier, making him an outcast of the group all over again. It would have been easy for Sawyer to slink back to his hole alone, but Hurley sees the value in him, especially with Jack, Kate, Locke and Sayid all being absent from camp. Hurley is able to pull a con of his own on Sawyer, tricking him into being nice and diplomatic with the other survivors, ostensibly to avoid banishment as punishment for the revelations of Expose. Two key points for Sawyer's development here: 1. the threat of banishment works. We see that Sawyer, characterized as a loner who needs no one but himself, who has in the past seemed content to the life of an outcast, now fears being sent away, not being allowed in the community. Whether he likes it or not, he's grown attached to the people, and he has come to understand that it isn't Every Man For Himself, but that he needs them to keep on going. 2. He actually seems hopeful when Hurley suggests that he be leader in absence of the rest of the A string squad, and consequently seems disappointed when Jack and co. return to camp earlier than expected. These little moments show that the potential is there in Sawyer, that he's close to a turnaround, but he's still holding on to his biggest piece of baggage.
The biggest event of season 3 for Sawyer of course is The Brig. Through the machinations of Ben, Richard and Locke, and a bit of Island Magic, he is able to come face to face with Anthony Cooper, the "Sawyer" who caused most of the misfortune in the life of James Ford, among others. When he is able to confront Anthony once and for all, the rage and fire and vengeance and hate that has permeated his soul finally has an outlet. Sawyer strangles the man who ruined his life, finally letting go of the most horrible thing in the world, the key piece of baggage he has spent his life carrying even though it makes him miserable. In What Kate Did, Kate expresses to an unconscious Sawyer that the reason she ultimately killed Wayne wasn't because of the abuse or the drinking or the way he looked at her, but because she hated knowing he was her biological father, hated knowing that she had his blood inside of her and that she would never be good as a result. Sawyer's growth after killing Anthony suggests to me a similar factor, that where Kate found herself stooping to Wayne's level because she felt his genes predestined her for scumbaggery, Sawyer's obsession with Anthony Cooper similarly led to him embodying the man he so despised, and to feeling that it was inevitable. With Anthony dead, Sawyer not only lets go of something he has been holding for 30 years, but he is able to wave away the cloud of smoke that Cooper left on his life and start to become his own man for the first time, warming back up to the name James.
In season 4, Sawyer's most immediate growth from past seasons is his newfound protectiveness. In S3's Left Behind, Hurley inspired him by fooling him into being nice to Claire, and here Sawyer is increasingly protective of both Hurley and Claire in the wake of Charlie's death, knowing that the two of them are the most impacted by it. He chooses to go with them and Locke to the Barracks, moving away from the idea of rescue via freighter and instead hunkering down on the island. Where he once thought only of himself and felt it wasn't his job to look out for others, we see him step even more into a leadership/big brother sort of role, attempting to console Hurley after Charlie, protecting him from Locke with threats, and risking his life in the finale to go to the Orchid once he realizes Keamy and Hurley are both headed there. Similarly, he feels a sense of duty to Claire, rescuing her during Keamy's attack on the barracks, telling Miles to leave her alone when he was creeping on her, and protecting the baby Aaron after Claire had disappeared.
This last point is especially important, as Sawyer's other major piece of development in season 4 is related to children and the idea of being a father. Where he had previously been a spitting image of Anthony Cooper, a cad, bouncing around having casual sex with women before conning them, now Sawyer suggests to Kate that they could settle down in the Barracks, "play house" so to speak. In doing so, he argues to her that neither of them have anything off the island to worry about, neglecting that he knowingly has a daughter, Clementine. In Every Man For Himself, he made sure that money from his prison con was sent to Clementine, but with the caveat that she not know it came from him; a noble gesture, yet Sawyer becomes yet another absent father in the Lost universe, reinforcing that decision here in season 4 by choosing to settle on the island for good. This theme becomes stronger when Kate suspects she might be pregnant with Sawyer's child, and is upset that he celebrates once they find out she isn't. While Sawyer has grown up quite a bit, he's still not ready to accept the responsibility of the child he has, let alone a new child with Kate. However, at the end of the season, Sawyer has come a long way in a short time. In the season finale, when the helicopter is too heavy and about to go down, Sawyer not only makes a heroic sacrifice to ensure that Kate and Hurley will make it off of the island, but tells Kate about Clementine and Cassidy before he jumps, making an effort to actually reach out to his daughter and actively see that she is cared for.
Season 5 is the most important for James' development, as it is where he makes the transition to Lafleur, becoming a true leader within the DI, respected by the men who follow him. He begins the season reunited with Juliet after separating from Kate and the chopper, and where trying to settle down with Kate failed, he is able to play house with Juliet for 3 years after surviving the Time Flashes together and finally landing in the 1970s. He secures their place in the DI by appearing at an opportune time when Horace Goodspeed and Amy are having some major conflict with the Others/Hostiles. Where Sawyer's ability to charm and manipulate and convince people had exclusively been used for bad up to this point, he is able to use his wiles to become a sort of guile hero, not only saving Amy but negotiating a peace with Richard Alpert. With a time skip of three years after he convinces Juliet to give him two more weeks on the island, we find that the two have fallen in love, agreed to have each other's backs for the rest of their lives, and that Sawyer has risen to head of security and Horace's most trusted ally. When Kate and co. return to the island, Sawyer's leadership is put to the test. He has to balance his newfound position as Lafleur with his desire to protect his friends and loved ones, and does so in a respectable way before things get too chaotic to handle. In this latter part of S5 and later in S6 we see a distinction in Sawyer and Jack's leadership skills, with Sawyer characterizing himself as less impulsive, more thoughtful, someone who considers all options and reads a book before acting, where Jack was more wont to start making moves as soon as possible. Sawyer points out that Jack's rashness got people killed on his watch, and that as Lafleur, he plans to do things differently.
The S5 finale/S6 premiere seems to confirm this for James, as Jack's plan to detonate a hydrogen bomb in the hopes that it would send everyone back in time and stop the plane from having ever crashed has some undesireable results. A story had subtly been building that Sawyer still felt something for Kate even though he didn't want to, even though he said to Horace that 3 years is long enough to forget about someone, and Juliet notices Sawyer looking at Kate when she gets on the sub. Where Sawyer had seemingly been able to let go of his fear of losing people earlier on, Juliet reacts from the same fear, opting to go along with Jack's plan to blow up the Swan if it means that 815 never crashes and she never has to worry about losing Sawyer. While Sawyer is heartbroken at the idea that she would wipe away their relationship for fear of losing it, a farcry from the Sawyer who told Kate he was the one that his letter was addressed to because he was afraid of how close she was getting to him, his turmoil turns to anger when Juliet dies as a result of Jack's latest brilliant scheme. Though initially he says he'll kill Jack out of vengeance, he isn't that man anymore, and he is able to walk away, resenting Jack nonetheless, but letting him live.
Season 6 is a lot of grief for Sawyer, dealing with blaming himself for convincing Juliet to stay on the island, blaming Jack for the leadership decision that killed her, believing he himself would have done a better job. The climax to this story arc happens in The Candidate, where MIB is able to trap the remaining Oceanics in the submarine with a bomb. Jack assures Sawyer (from experience) that MIB cannot kill them that way, and that he is hoping for them to make the mistake of trying to pull a wire, the only way the bomb will actually go off. He implores Sawyer to trust him, but with Juliet still fresh in his mind, Sawyer says he can't, and he gets Sayid, Jin and Sun killed as a result. Even more distraught than before, Sawyer blames himself for having killed his friends, understanding Jack's position now, and letting go of his bitterness over Juliet, as he realizes Jack was just doing what he thought was best. Sawyer is able to get a win however, as he leads the group in fixing up the Ajira plane and flying it off the island. After more than three years on the island, and having been developed and changed as a person in so many ways, Sawyer finally is able to leave. My personal headcanon is that he takes what he has learned and decides to be a father to Clementine when he returns, to make amends for what he did to Cassidy, and at least try to be a supportive presence in their lives and redeem himself.
In the flash sideways, Sawyer's story remains similar but with the drastic change that instead of letting Anthony consume him to the point that he became the scumbag he was hunting, he took the high road and chose to become a cop so that he could hunt Cooper down with resources and ostensibly, eventually the backing of the law. Assuming that the characters in fact build their flash sideways based on what they'd want to change about their actual lives, it's very fitting that Sawyer maintains his desire to find the man that ruined his family, yet he chooses to do so in a respectable and relatively by the books manner, though he does keep the search secret from even his partner Miles. Crucially, Sawyer ends the story in the church with Juliet, having reunited and remembered their lives together before moving on. Though he seemed to always have feelings for Kate, her presence always seemed to hold him back, while Juliet was a much healthier relationship for him, a partner who allowed him to grow and work through his baggage, and so it is fitting that the man who became Lafleur heads into the afterlife with the woman who helped him do so.
I call this the lower mid tier. You'll be forgiven for not listening to all of these and waiting for the next post to get the themes you actually recall, but there are some good ones in this bunch if this is something you're into.
48 Boone and Shannon (https://youtu.be/wMYJqjX84yU?t=24)
I guess I kind of remember this one. Shannon has a solo theme that was barely a theme which I didn't remember, so I'll give this one a spot even though maybe it shouldn't even be on the list. It's really more a variation on the main theme.
47 Dharma/Widmore (https://www.youtube.com/watch?v=rtNg4ygmNsU)
I really like how this one showcases DHARMA as a whole new sort of villain, and I love the trombones and strings and villainous rough piano notes. It's sort of Keamy-esque. The theme was also used for Widmore's squad a little in season 6 because Giacchino is loath to give up a good theme so quickly. Notes: Sawyer theme gets the trombone treatment at 1:40 in this video, and the beginning of the video isn't actually the Dharma/Widmore theme, but rather the mystery/Dharma theme/motif from seasons 1 and 2 that I'll talk a lot more about when I rank it up much higher.
46 Sayid and Shannon (https://youtu.be/XEBliZtw1qk?t=71 and then from later in that same video, https://youtu.be/XEBliZtw1qk?t=514)
This isn't one I remembered before the season 6 finale aired (the first link above is it being used in season 1 or 2) but then Giacchino used it when Shannon and Sayid remembered each other instead of the Home theme he used for the other wake ups. So it sticks with me for that reason, and I must admit it's a good love theme for Sayid, even if it's not as good a love theme as all the other pairings.
45 Rose and Bernard (https://www.youtube.com/watch?v=J2_7l0-gvr0)
It was nice to see Rose and Bernard get a theme and an episode in season 2. This theme isn't spectacular, but it shows up early and gets played through to the end of the show, so it is one I remember sometimes, though if you cornered me at a random time and asked me to hum it, I might fail.
44 Theme in Black aka Flocke Theme aka Man in Black in Locke's Form (https://www.youtube.com/watch?v=s_tpedCSmfw)
I like this theme for the Man in Black when he's in Locke form. It's good background music for when he's telling people stuff and walking around with them, which is a lot of what he does that season. Interestingly, it is basically the same notes as Locke's happier and prettier Sideways theme, which I had never noticed until I saw a note about this on Lostpedia. Makes it even better!
43 Locke 4 (https://youtu.be/u3LecFK1Xy4?t=346)
This theme basically morphs directly into the Theme in Black, which I ranked down at 44, but it sounds less evil. It also might be the same as Locke 3, but just a variation on it. So basically, Locke 3, Locke 4, Theme in Black, and Locke Sideways are all kind of the same theme, with Locke 1 and Locke 2 being completely separate. But of that group of themes that are all the same and all good, I think my favorite is the following one:
42 Locke 3 (https://youtu.be/J_9m8FBeXXg?t=22 until 0:41)
This one is good. Very tragic. Very mysterious. Very Locke.
41 Temple (https://www.youtube.com/watch?v=rds_j6PIWTc)
This theme is unfortunately associated with a regrettable storyline, but I like how it sort of has the feel of the Others with the loud trombones and deep plunking piano notes, but also a sort of Japanese feel, probably because of Dogen's leadership of the temple. There's also a good ancient feeling that goes well with Jacob's theme, which we were introduced to just a few episodes earlier in the Season 6 finale. It definitely was the right theme for the temple, but it's not one of my favorites. I remember hearing it and being excited that we were still getting new themes even in season 6.
40 Jack (https://www.youtube.com/watch?v=3Vb7OYi2nnI)
Considering that Jack is the main protagonist, it's odd that he didn't receive a full theme until season 3. And when he did, it was pretty bland and forgettable, not nearly as good as the themes of his friends. But after 4 seasons of it, I did start to appreciate the theme in how it sort of hearkens back to the happy good old days of season 1 island friendship when it's surrounded by all the aggressive trombones of Dharma and Widmore and the Man in Black, and the spooky island sounds of Jacob and the Island. It is used very well in the end of the finale when Jack is in the church. Fun note: Jack plays his own theme on the piano in the Barracks in the Season 3 episode The Man from Tallahassee.
39 Heart (https://youtu.be/guLiRwLvv9c?t=115 to 2:35, at which point it changes to the Light theme (which will be ranked much higher up))
Giacchino doesn't quit. He was introducing brand new musical themes all through season 6 (this is the ELEVENTH season 6 theme I've ranked so far, and we've only done 20 themes, plus another two so far were from season 5) and this theme was introduced in the actual finale! But that didn't stop him from using it a whole bunch in scenes taking place at the heart of the island, as if it was an old theme we've known for years. I really like it, with its sleigh bell/maraca sounding instrument, and it's kind of jungle vibe. It definitely feels like we've stumbled into this ancient place with its own theme that's existed all along, and we're just now discovering it. I don't like it quite as much as Jacob's theme, the Light theme, and MiB's theme (the other three ancient island themes introduced in the last 18 episodes of the show), but it is quite good. It's only not ranked higher because from this point on, every theme is one I'm very excited about. No more mediocre ones.
38 Sawyer flashback (https://app.assembla.com/spaces/soundia/documents/bFoOPKS8Kr35j-eJe5cbLA/download?filename=OrigSawyersTheme.mp3)
I don't think this appears on any of the soundtracks, but someone recorded it and put it on Lostpedia, which is where the above link comes from. It's more a motif, just four notes, but it does a great job of conveying how broken young Sawyer was upon his father's murder suicide, and how broken he is to this day, and how desperately he needs to kill the adult Sawyer, in the hopes that doing so will finally allow him to move on. But ultimately, his friendship with the other survivors is what lets him move on and become a fulfilled person, and when he does eventually kill Cooper, it's more just tying up loose ends.
37 Jack Flash Forward (https://www.youtube.com/watch?v=WJwpZWr5-Zo)
This absolutely iconic piece from Lost's first flash forward had a completely different sound than anything we'd heard on Lost before, and its quiet haunting notes joined by a sort of reflection of the Kate theme on strings at 1:14 were the perfect accompaniment to the most shocking moment in all six seasons of Lost. It's not really a fun theme to just put on and enjoy (which is why I made this the start of the lower mid tier), but in terms of being a part of the score of a show, this did its job splendidly.
I don't think I've ever met someone who has watched all of Lost and can claim that any other television show had a better soundtrack. I can't even say that Lost was groundbreaking in television music, because "groundbreaking" implies that it broke the ground up for others to then follow behind. And has any show, literally any show at all, followed behind? Has any other show used a live orchestra from day one, creating separate themes (sometimes multiple themes) for each of the many, many characters? Has any other show had a composer with the stature of Academy Award winner Michael Giacchino?
Okay, maybe a few shows have followed Lost to some degree. Off the top of my head I can hum several themes from Game of Thrones, and a couple from West World, both by Ramin Djawadi. And while the pilot of GoT had some obnoxious synths instead of a full orchestra, I can't blame Ramin for HBO not taking the chance on him that ABC somehow took on Giacchino. Also I can't credit ABC with paying for an Academy Award winner, because when they trusted JJ Abrams and let Giacchino do Lost, Giacchino's only credits to that point were JJ's previous show, Alias, and some video games. Lost is largely the reason why Giacchino became well-known enough to land the Pixar films, then Marvel, then Jurassic World, then Rogue One, though JJ probably would have put him on Mission Impossible and Star Trek no matter what.
In today's movie world, we have a very unfortunate dearth of hummable themes. Think back to Star Wars, and Harry Potter, and E.T., and Jurassic Park (all John Williams), and you can immediately hum a bunch of themes off the top of your head. Think about Tim Burton's Batman movies and the Sam Raimi Spider-Mans (Danny Elfman). Movie themes made movie watching so much better. But today? Now we mostly just have the Hans Zimmer WHAAAM, and his most recognizable "theme" is the two note Batman thing from the Dark Knight.. The reason we don't have many recognizable themes any longer in movies is partially just a matter of tastes changing, but also has a lot to do with directors editing their movies to "temp music," which is usually the soundtracks to other films, so they can get a sense of what the movie will look like in editing, before the composer gets a shot at it. The directors often become attached to the temp music and ask the composer to basically copy it, and you end up with a lot of movies that sound exactly the same. If you have 13 minutes to kill, watch this video about the phenomenon and how everyone recognizes old movie themes but not any current themes. The discussion of temp music starts 6 minutes in, but the whole video is really good. Giacchino is a victim of this in the Marvel Cinematic Universe as well, as he is scoring most of them now. You can still hear him invent new themes for movies like Star Trek, Incredibles, Up, and Rogue One, but a whole lot of the "sad high pitch strings" the video criticizes at around the 3:30 mark are literally from Giacchino.
Anyway, I bring that up to showcase how Lost is not just the best scored TV show of all time, but maybe the best scored screen work of the millennium, period. Okay, maybe it doesn't beat Harry Potter or Lord of the Rings, but it's certainly in the conversation, which is not something any other TV show can say.
Now that I've set the stage by talking about how amazing the score of Lost is, I'm going to give you some of the least memorable themes! Hooray! Sorry folks, but a ranking has to start somewhere, and I want to be comprehensive. Let's get the flash sideways themes out of the way first, and all your faves will come in the next posts.
I want to note my criteria for selecting the list of themes I'm using, as some people might have listed more were they do do this list, and some might have listed less. I looked at Lostpedia's list of themes, and also several motifs that were listed on that page and elsewhere, plus some themes I remember that somehow didn't get onto the Lostpedia page. Motifs, according to Lostpedia, are usually just a couple notes in a row that get repeated in certain similar circumstances, often associated with a place or situation or character, that don't rise to the level of a full blown theme. I was a bit haphazard in which motifs I deemed worthy of inclusion on this theme ranking. In some cases, like with Sawyer, both of his recognizable music cues are really more motifs than themes, but I had to include them because they're Sawyer's music. Jack's motif is more recognizable than his theme, so of course that gets in. In terms of what I left out (and I did leave a lot of recurring music out), I basically automatically included anything that I could see the name of and immediately hum in my head (that's probably like 45 of the 60 themes I'll be ranking), plus anything where I'd see the name, wonder what the theme was, play it, and be like, ohhhhhh yeah that one. I've listened to the soundtracks a lot and watched the show in full four times, plus I was paying close attention to all the new themes as they happened from like season 3 onward, so that's why I know so many of them. Anyway, without further ado, here is bottom 10!
60. Jack v. Locke (https://www.youtube.com/watch?v=P9wrgZCKZs0)
This is one of my favorite pieces of music in all of Lost, but it's definitely not a theme in that it only occurs once in the show, in the finale. But I decided to cheat and include it anyway since this is my list and I can do what I want. Because I wanted an even 60, I eliminated Daniel's Theme and the Swan motif because I don't remember the former even after listening to it, and the latter is a good motif but not any better than the many other good motifs I didn't include in this ranking.
Notes: Listen for the Main Theme of Lost at 1:10, and listen for the Man in Black theme at 2:00. Those are Tier 1 and Tier 2 themes, respectively, whereas this Bottom 12 is Tier 4.
59. Hurley Mediumship (https://www.youtube.com/watch?v=4QeZaZUpkxQ)
Hurley has a whopping FIVE themes on this list, only matched by Locke (though Locke has 6 if you count the Flocke theme as one of his, which I don't). However, I think that Hurley's roster is deeper, because each of Hurley's first three themes is pretty iconic and memorable, dating from the early seasons, whereas Locke only has two memorable Season 1 themes, and the rest are all from later after his musical identity had already been developed. This theme is okay, and it did sound pretty new for Lost at the time, taking the Jack flash forward theme from the end of Season 3 and using that sort of creepy vibe but with a softer Hurley touch. That weird, theremin/finger around wine glass-like sound becomes much more common in Lost in the flash forward/sideways era, and this was a decent start to it. Not very memorable of a theme, and the main reason I remember it is because the Season 4 soundtrack is the best soundtrack for a quick and satisfying listen, and this is the first track on it.
58. Eko (https://www.youtube.com/watch?v=GqKm6kQjErE)
This isn't a very memorable one, and I'd never be able to hum it for you, but it does put you back in the Season 2 mindset to listen to it.
57. Michael and Walt (https://app.assembla.com/spaces/soundia/documents/dzUB2eSwur34OreJe5cbLr/download?filename=Dawsons.mp3)
Michael and Walt had a theme? I guess they did, and it played in a lot of their flashbacks, but you wouldn't have noticed because it wasn't very memorable.
56. Widmore Team(https://app.assembla.com/spaces/soundia/documents/aZiDGmVqur36ageJe5cbCb/download?filename=TeslaTester.mp3)
I actually kind of like this one from season 6, but it's so late in the game, and associated with a storyline that doesn't deliver. There's another theme that was for the DHARMA villains in season 5 which also was played a little for Widmore's team in season 6, and I'm going to be ranking that one a little higher up because season 5 was better.
55. Jack's Destiny motif (https://youtu.be/VfndVW3h_ZQ?t=670 and also https://app.assembla.com/spaces/soundia/documents/cfhxJEE4yr360LeJe5cbLA/download?filename=04-TheScienceofFaith.mp3)
I wouldn't have thought to call this Jack's Destiny motif if Lostpedia didn't do so first, but you hear this a LOT in season 6, and it's one of the core musical elements that season. I probably should have not included this one and kept the list at 60, but since I rank it above a few other entries (whereas all the other edge cases would have been ranked at the very bottom), I kept this one.
54. Ben Sideways (https://www.youtube.com/watch?v=BmuPOqV0Tgs)
This is attached to one of my favorite scenes, when Danielle tells Ben that Alex sees him as a father figure and he starts crying. It is a little sad, but also very touching and happy, matching how Ben must feel. It then has that spooky, echoey instrumentation at about the 35 second mark. It's pretty good, but not super memorable even on a few rewatches.
53. Locke Sideways (https://www.youtube.com/watch?v=nCrdTsLtV9A)
This is classic Locke. Very sad, but more in a regretful way than in a "I'm sad now" way, with some hope in it too. This also could have done well if introduced earlier, and if not for Locke already having a perfect sad theme, which will be in the race for the top spot on this whole list.
52. Hurley Sideways (https://www.youtube.com/watch?v=J5VimBclrbs)
Though I can't hum this one off the top of my head, it's the only one that's clearly identifiable with one character. It unmistakably is based on the sad version of Hurley's first theme until 1:09, at which point it's completely based on the normal, bouncy version of Hurley's first theme. This makes it maybe the most apt sideways theme, but it also isn't original enough for me to rank it above some of the other sideways. It sounds exactly like what Hurley's themes would become after Hurley becomes protector of the island, so I really like it. I just want to note again that some of these sideways themes are better music than themes I'll rank higher, and would have done better if they appeared earlier in the show and were repeated more.
51. Jack Sideways (https://www.youtube.com/watch?v=NqUyZKvvygw just like the first minute of that video)
Jack's sideways theme is very good at doing what Jack's sideways are supposed to do. It shows a melancholic Jack doing his best at being a dad, and making missteps but being all right. Meanwhile it has a sense of otherworldliness, somehow not being as real as the real world themes. It just suffers from being introduced in season 6 and only appearing in flash sideways, so I wasn't able to tie it specifically to Jack in my mind until after many rewatches and listens to the soundtrack, and I'm still not certain I could pull it out of thin air if asked, but it probably is the sideways theme I remember best other than Desmond's, which is totally different and not character-based.
50. Kate and Claire Sideways (https://www.youtube.com/watch?v=1znnCL_3x_0)
I really like this theme. It's so sad, and has such a Season 1 sound to it. I think it would have made a great second theme for Kate a la Locke's second theme or Hurley's second theme. But alas, Giacchino didn't think of it until season 6, so it isn't very memorable, and even I didn't attach it to Kate specifically until...researching this list. And I won't even really get to enjoy it on my next rewatch, as I'll be busy not really enjoying the episodes it's played in (first half of season 6 was the worst of Lost for me).
49. Desmond Sideways (https://www.youtube.com/watch?v=bk22yL0Gc5w the identifiable part kicks in at 0:33)
This is almost more a motif than a theme. It's the most memorable (maybe the only memorable) sideways theme on a first watch, because it's played constantly, sounds spooky, and it clearly identified with the theme of Desmond waking the others up. I don't actually like it that much, but it's the only memorable theme in this entire bottom tier, so I'll put it at the top of the tier for that reason.
4. Ben Linus
Benjamin Linus was my favorite character pretty much from the second Henry Gale appeared until the finale, and for some time afterwards, and it was my number 1 ranking of him in this power rankings that powered him into 4th place, surprisingly over John Locke, who perhaps I should have ranked at #1 in retrospect. I can trace why Ben Linus is my favorite character to four main elements:
I'll break up my discussion of Ben into those four topics.
I'll just highlight several of his greatest moments, and you can fill in the rest. I already linked to his finale conversation with John in my Locke write-up, but all of his other great moments are much earlier. I think some of Emerson's best acting was as Henry Gale, when he managed to spin lies with ease and convince a good portion of the audience, if not the majority, that he was telling the truth. His initial begging and fake confusion upon being kidnapped was great work, but his best scene in the whole series by far is when he talks about what he would do if he were one of the Others, which is the first time we get to see Emerson go full creep on us, and we also see him very skillfully and naturally sow seeds of mistrust between Jack, Locke, and Ana Lucia. Ah, it was a glorious moment of Lost. Do you guys have any milk?
Here is Ben killing his father, the act that allowed him to become leader of the island (although not immediately), an act he would later challenge Locke to do with the expectation Locke would fail. Unlike Locke, Ben was patient, calculating, ruthless, and he pulled the trigger on the gas himself and sat there as his dad clawed for breath and died. He very noticeably does not look at his father, but it isn't that he's afraid to do so, it's more that he's unfeeling towards his father as a human being at that moment and doesn't feel the need to watch his struggling.
Here's Ben watching not the death of his father, but this time of his daughter, and just as before, he pretends to show no affection for his family at all. But this time, it is very clearly a ruse, and you can see him try to gain mastery over the situation with his cold cunning as he is usually able to, and yet this time he fails. Alex's crying is heartbreaking, as is the fact that the last thing she ever hears is her father say he never cared about her, accompanied by Ben's heartwrenching theme. His look of shock and horror after the deed is done marks a major turning point in his character. He doesn't stop scheming or murdering yet, but he now has a regret, and has experienced the loss of a loved one for the first time. It takes a while to get there, but Ben's path to being Hurley's loyal pal begins here, and you can see it with each scene Emerson plays from this point on.
The final scene I'll link to in this section is between Ben and the ultra-lame Ilana, where Ben finally speaks the complete and absolute truth about who he is, why he has done what he's done, and what he feels. And from this point on, Ben is in 100% good guy territory, and his redemption feels genuine, and not forced and artificial like 99% of movie and TV redemptions do.
So in sum, Michael Emerson is the best actor in Lost, and I won't take disagreement.
2/3. Ben is a great Big Bad
Shows require conflict to engage the viewer, and the conflict doesn't engage the viewer unless both sides raise viable points and believably pursues their goals. The audience doesn't have to agree with anything the Big Bad thinks, but they must understand why the Big Bad feels the way they do, and they can't merely be a mustachio-twirling rogue who wants to conquer the world and inflict evil upon its populace. For examples, observe how Daredevil is amazing when Fisk and the Punisher are the villains, and really bad when the hordes of faceless and silent ninjas are the villains, and how Luke Cage was great when Academy Award winner Mahershala Ali was his rival for how to improve Harlem in the first half of season 1, but then the show got terrible when Diamondback became the villain in the second half and just maniacally laughed and desired power because he's the villain and that's what the writers think the villain should do.
Lost never faced that issue. Although there was no Big Bad in season 1 or most of season 2, there was still genuine conflict between our heroes, and the opposing sides of each conflict were so understandable that the fan base actually did split on each occasion. But once we realized Ben was the leader of the Others in the Season 2 finale, we had our big bad, and from the first scene in Season 3 we got to see his worldview fleshed out, and while he was pretty shitty to all of our favorites, you couldn't help but sympathize with him a little. Especially once we saw his flashback episode (an absolute standout both for fleshing out the best character on the show and also for finally showing us Dharma, which we'd been craving for over a year at that point), you had to love Ben, even if you simultaneously hated him. But to be honest, other than him constantly trying to kill Locke and screwing up the Alex thing, I was basically 100% on his side at every moment in the show from that episode onwards, as the new Big Bad tag team of Widmore and Keamy clearly were the ultimate villains, putting Ben and our heroes on the same side.
But even when Ben wasn't the Big Bad anymore, and became a member of the team (kind of like how the all-time best Big Bad from Buffy, Spike, became a lovable anti-hero member of the Scoobies a couple seasons after his villainous season 2 turn) he was still just so fiendish and selfish and scheming, and how can he not be your favorite???
I already touched on how Ben's season 3 flashback episode showed him to be a tragic character. I couldn't find the scene of him and his dead mother (Was it the Monster? The show was super inconsistent about the rules back then so it's hard to say. More likely she was real like when Richard's wife speaks to Hurley if we force ourselves to make the scene consistent with the rules we know from later), but that whole thing with him seeking someone who loves him drove him as an adult as well. He didn't get love from his father, and he could never see his mother again after that one time, so he sought it from the Others. But they couldn't give it to him either, and Jacob wouldn't even speak to him. His actions with Juliet were the creepiest, and when I like Ben the least, but another example of his desperation for love. He finally gets companionship when he becomes Hurley's best friend, which sounds like an awesome person to be besties with, and that is so great to see. But he doesn't really get the love he needs until after his death
In the flash sideways, Ben finally gets love and peace, joining a happy loving family with Danielle and Alex. Observe his reaction to hearing how Alex loves him like a father, and you can see Ben FINALLY getting the familial, unconditional love he has wanted for his entire life, and I can't help but tear up when I see Ben cry. Someone on Youtube did an awesome cut of that same scene, but putting in Ben "remembering" his life in the same way that we got to see the other characters remember in the finale. You can find that here.
Last but not least, let's appreciate Ben's theme. For the first time, a character theme came out of a musical theme we already had in the show. For some time, we had been hearing the very scary sounding, but when Ben's flashback episode arrived, we saw this scary little theme transformed into a powerful, moving theme for Ben personally, with a palpable longing for love that Ben just could never achieve. Here is its first instance in the show, and you can hear how the track starts out with the old Others theme and then introduces the Ben version at about 1:13. It's played at moments like the Purge of Dharma, and perhaps my favorite is when Ben pushes the donkey wheel, knowingly sacrificing the chance to ever come back to his home because he feels that he needs to in order to protect it. But eventually he did return home and achieve love, and I am so happy for him. Having Locke forgive him at the church was the final thing he needed to let go, and now he deserves to spend some happy time with Alex before he moves on.
I love Ben, he's my favorite character on television, and I am so glad he managed to place in the top four. :)
Man in Black: "John Locke was not a believer, Jack. He was a sucker."
Benjamin Linus: "John Locke was a... A believer, he was a man of faith, he was... A much better man than I will ever be."
Jack Shepherd: "You're not John Locke. You disrespect his memory by wearing his face, but you're nothing like him. Turns out he was right about most everything. I just wish I could have told him that while he was still alive."
Up until this point, we have been explaining why each character belongs roughly in the spot they landed on our ranking. But now, we get to those very few characters (I would limit them to Locke, Ben, Sawyer, and Jack) where a plausible case could be made for each of them being the single best character on the entire show. And so in this write-up, I will make the case for Locke being the best character on Lost, and in the running for the best TV character of all time, and I leave it to my fellow rankers to argue why the remaining characters are better.
Ultimately, when you boil Lost's complex web of characters down to its essence, it is a show about a man of science vs. a man of faith. Jack v. Locke. They even have a final battle of sorts in the finale resulting in the death of both, and its orchestral accompaniment is titled Jack v. Locke on the CD, Man in Black be damned. While the real Locke would have been on Jack's side in that battle, the pairing still provides a final emotional catharsis we needed ever since season 1, when Jack and Locke clashed over the death of Boone. There are other dualities in conflict in the show, like light vs. dark, Jacob vs. the Man in Black, but while those are important to the lore, what truly defines the show is the battle between Locke's faith and Jack's science. And Locke wins that battle.
Walkabout was the first moment on the show where we really understood how mystical this was going to be, and how the flashbacks could work with the on-island action to enhance it and create mystery and payoffs aside from just showing us what people were up to before the crash. I've never seen a show pull of flashbacks as well as Lost, and Walkabout may be the pinnacle of Lost's flashbacks, in only the second character-centric episode. And that episode closes out with what might be the most beautiful and tragic theme in all of Lost, Locke's second theme. (Here's his first theme, which you'll certainly recognize). My favorite use of the second theme was when Locke was banging on Desmond's hatch after Boone died, which is the example they use on the soundtrack that I just linked to.
Walkabout and the hatch scene typify what I find so compelling about Locke, which is that his life is a continuous series of devastating heartbreaks coupled with inspirational successes, never one without the other. I'll explore this by looking at some of the roles he filled and characters he had relationships with.
Locke as the Wise old man
For the first season especially, Locke served a role that many classics of fantasy and sci-fi contain, the wise old man role. Think Gandalf, Merlin, Dumbledore, or Yau Man, every classic story has the wise sensai character who coaches the younger characters to achieve their potential. Locke filled this role for three characters I can think of: Walt, Boone, and Charlie. He gave advice to many more, but he was instrumental in these three achieving their potential. I addressed his relationship with Charlie in my Charlie write-up, but Boone and Walt were his real tutees, particularly Boone. Through Locke, Boone was able to get over Shannon and his childish attempts to be another Jack, and was able to develop a purpose with his work on digging up the hatch and going up into the plane. Though Locke's efforts in shaping Boone weren't entirely altruistic, as Boone's new purpose was kind of just doing whatever Locke said without question. We also saw our first signs of Locke being kind of crazy and unhinged when he tied Boone up and drugged him, and though the show kind of presenting the ends as justifying the crazy means, I'm not so sure myself. From the start, while Locke was clearly in the right about the island having a purpose for everyone, and faith being more important than science, he was absolutely not in the right about a whole bunch of things, and these flaws helped to make him much more human and complex. Part of what I love about Lost is how no one is all good or all bad, always right or always wrong. While Locke was usually my favorite character, he did a whole lot that irritated me to no end, and I'm glad for that, because a perfect wise old man with no other role than to teach and then die would not be interesting enough for this masterpiece of a show.
Cooper and Helen
I already mentioned that Walkabout was the best flashback ever because of the plot twist and how it introduced us to this tragic figure of high highs and low lows, and the rest of his flashbacks serve to drive home the point that Locke was really a total loser before he was on the island, and his wise man and leader personas are really him taking advantage of this once in a lifetime opportunity to reinvent himself as a sort of fanfic version of himself out of his dreams. Locke was a bullied teen in the shitty American foster system of the 50s and 60s, desperate for real parents, and so he was especially susceptible to his father's machinations. Time and time again, like a battered spouse, Locke went back to his dad and got screwed over again anew, even though a rational person would have known better. But a battered child doesn't behave rationally with their abusive parent, and we had to watch this on-island badass repeatedly be a complete dummy in his flashbacks. This was very effective both to show how much he has grown since his off-island past, and also to show why he is often not entirely rational on the island, being obsessive and stubborn in relation to the hatch, pushing or not pushing the button, and trying to thwart the freighter people.
I don't really know what to make of Helen. Locke always struck me as a totally nonsexual and nonromantic being, and nothing about his relationship with Helen really makes me change my mind about that. I believe that he loved her, but something about it was weird and wrong, like he only got with her because he felt like he should have a love interest, but he never actually needed or wanted one. And Helen eventually discerned this and left him, because his attention was never truly on her. She was a stopgap family member for him to make him feel less lonely as he pursued the family member he really wanted: Cooper. Also, for years I thought that Locke's phone sex fake Helen thing in Walkabout was totally out of character for such a nonsexual character, so I just pretended it had never happened, but I now realize that it's very in character with the absolutely pathetic man that post-Cooper, pre-island Locke was. Of course Locke would use a paid phone sex line to fake a loving familial relationship that no one would give him willingly. What a sympathetic weirdo.
I will say, though, that I think Locke's one major moment of character growth in his entire life was in setting up for Sawyer to kill Cooper. In that moment, he finally got over wanting a relationship with Cooper, and arranged for his death, even if Locke couldn't do it himself. He came back to the Others triumphant, acting confidently as someone who deserved to be their leader, and they rewarded him with that role accordingly, after a one season detour in the Barracks. Let's turn now to what Locke did once he finally achieved his dream of being recognized as a leader.
Locke as a Leader
I mentioned before that Locke on the island was living out his fanfic Mary Sue version of himself as a cool knife-wielding leader of men, and that idea that Locke is central to Locke's conception of himself. We eventually learn that this idea that he was destined to be a leader was actually implanted into the child Locke by Locke himself, with an assist from the Man in Black who used every interaction he had with Locke to reinforce this idea. In essence, it was all a lie, and while Locke did manage to be convincing enough to get half of the Losties to follow him in Season 4, and all of the ancient Others to follow him at the end of that season, he never really was destined to be a leader, and we never really saw him being that good at it. At best, he was a serviceable leader of his faction of the survivors in Season 4, but he probably could never have recruited them and kept them from revolting if it weren't for Hurley and Sawyer reinforcing him while also seeming much more like rational, regular human beings.
From what we do see of Locke's moments in the leadership role, he is extremely rigid and unaccepting of dissent, trying up and jailing people left and right. He also constantly makes executive decisions on behalf of the entire survivor group prior to Season 4 without permission, such as when he blew up the submarine, and also Mikhail's station (maybe intentionally?). While I wouldn't want Locke as my leader, and he was ultimately ineffective as a leader of his faction of Losties (his entire faction was eventually killed, captured, or stuck traveling through time) his style isn't that different from that of Ben or Widmore, so he probably would have been accepted pretty well by the Others as a very back-to-basics island-centric hardliner.
Locke's Meaningless death
For a long time, it broke my heart how meaningless Locke's death was. The fan community assumed that Locke would come back on the Ajira flight in the same way Christian did, and for most of Season 5, this seemed to be borne out. It was wonderful seeing this new, confident Locke on the island, all the demons of his past gone, all his uncertainty removed. But then when it was revealed that he was the Man in Black, you suddenly had to reckon with the fact that Locke was really dead, and he never did get to become the leader he was so certain he could be. But in the end, his death wasn't meaningless. He did succeed in getting Jack to go back to the island, and Jack was able to corral enough of the others for the Ajira plan to work, ultimately resulting in the death of the Man in Black and the saving of the world. Still, Locke's abrupt end hurts me more than any other death on Lost, mostly because of his heartbreaking final thought, relayed to us later by the Man in Black: "I don't understand."
Flash sideways
Locke's flash sideways saw nearly his entire character growth that he achieved in the whole show (I think having Saywer kill Cooper was Locke's one and only moment of growth in his life), and that is one of the many reasons why the flash sideways were so important. While many other characters lived out their story arc on the island, and then died once they had unburdened themselves, Locke died suddenly, after a life of failure, hopelessly confused. But in the afterlife, he was able to unburden himself. He was able to have an actual romantic relationship with Helen, not a weird fake one like in real life. He was able to recognize that he doesn't need to be healed, and he doesn't need to be a leader. He's now perfectly content to allow Ben to lead the school, and to be a substitute teacher in a wheelchair. While he does eventually go to Jack for surgery, it's not because he feels that he needs to, but because he now understands that he doesn't need to, so why not give it a go? Sideways Locke is fully healed of the damage caused to him by his parents and his time on the island, and he is ready to join his friends and move on, fully aware that the relationships they shared matter more in the end than destiny. This isn't to say that living Locke was wrong to focus on faith (the whole world might owe its continued existence to Locke's relentlessness in protecting the island), it's just that once everyone is dead, faith in the island matters less than faith in each other.
Was Locke "special"?
Locke spent his life trying to prove that he was special, and at many points, it seemed that he actually was not, and that he was only being fooled by the Man in Black and his time travelling future self into believing that he was special. But think of the wisdom and peace he gave to Walt, Boone, and Charlie. Think of how he turned Jack into a man of faith and allowed Jack to save the island. Think of how he sacrificed his life to save his friends on the island, giving up on all his dreams in order to do what he thought was right. Locke was special, and the most emotionally powerful moment of the entire six seasons of Lost is when he finally understands why he was special, and stands up to enter the church and move on.
Desmond Hume, the beautiful Scottish man with one of the show's most iconic catchphrases. Him making top eight should not have been a surprise. His story is largely tied in the overall plot, his acting is astounding, and everything about him is amazing. Desmond also has the best flash sideways which is helpful. The question is, did Desmond make it up here based on his accent alone? We'll see.
What makes Desmond so great is that he's just a simple man. He only has one goal: to reunite with his long lost love. What's great about Desmond is that this isn't a simple they fought and they'll reunite because it's a TV show. Unpopular opinion, maybe, but I didn't feel a connection for them as the couple was introduced and even their initial breakup did not feel as compelling as I would have liked. It was okay, but not great. However, the reactions from their meet-up is what showed me that their relationship was beyond a normal one. Besides his relationship with Penny, his natural charismatic attitude with the other members of the island assisted the viewers in making Desmond a fan favorite character.
Off island, it's clear that Desmond has an issue with commitment. He knew his fiancee for six years, and even before their wedding night, he was not able to go through with it. Even with Penny, he feared commitment. Yes, Widmore did not approve of him asking Penny to marry him, but I don't feel like ending their relationship soon after was a good move if they truly were in love. That's why I stand with the claim that he fears commitment or setting his life on a straight path.
Desmond tried to prove that he was worthy to Widmore through the boat race, and as a result, he was stuck on the island. For years, he was lied to by Kelvin. His mental state was deteriorated by the arduous process and monotony of pushing the button ever 108 minutes. Eventually, his whole reality is ripped in front of him, his past two years of his life are exposed as a lie and he does something that is beyond his character: the murder of an innocent man. This causes Desmond to go insane, which is how we first see him interact with the survivors. When Desmond returns to the series, he was able to fall into the group somewhat decently. The important thing to take note of him in the second season is his ultimate selfless sacrifice after piecing together that something bad would happen if the button is not pressed, he sacrifices himself by using the fail-safe key showing that he still has a sense of humanity left in him.
Season 3 has Desmond enter in and out of consciousness, one of the most complex and interesting parts of the series. His flashbacks are connected with his current state on the island, and with the help of supporting characters like Eloise and Daniel, it makes his flashbacks extremely interesting. Not only do his flashbacks have references to the island, he also has the ability the see the future as well. His premonitions, tied with the ultimate reveal of Eloise stating that the future will correct itself, leads Desmond to conflict with himself of whether or not to tell people what to do. As the plot the progresses, Desmond integrates himself in the inner circle very well and has some nice moments with the other characters such as comforting Hurley, helping Charlie/Claire, etc.
Season 4 hits Desmond with probably the greatest character moment in the series: the constant. See, Desmond has had issues with commitments, regardless with how it makes him a better person, he found a way to go against being in a commitment. However, season 4 seems to bring up Desmond's mind shifting in a stronger fashion. So strong, that it actually is a detriment to his health. As explained previously, Desmond's mind shifts back and forward between the past and the current time. With each time shift, his mind loses control and he would eventually die. Choosing a static point between both time frames is what prevents his mind from losing absolute control. This idea has been done in the show, albeit later, with Richard's watch/compass (I forgot which one) where it was used to denote a place in time for Locke. However, Desmond chose Penny. The man who had difficulty committing to something chose one person, that would be in his past, present, and future, to allow him to live in peace. I mean, that's pretty bad ass when you think about it. With his mind adjusted with Penny in his life, Desmond is able to live free (to an extend, I mean, he is captured on a ship after being trapped on an island but whatever). As the ship blows up, Desmond is left adrift again. However, the moment everyone has been waiting for happens. They approach a ship. People who don't speak English start screaming. We're all confused. Then we hear 'Mrs. Widmore!' The reunion finally happens and it feels like his entire adventure finally comes to a close. It was a very heartfelt reunion.
Season 5 had nothing super interesting happen to Desmond, although there are still significant moments. He had a child with Penny and named him after his fallen friend who sacrificed himself. He still had premonitions about Daniel and the island. He attempted to seek out Eloise, and found her. However, their previous encounter where she told him to go to the island soured their second encounter so much that he refused to see her again. Desmond, at this point, had completely finished with the island and refused to leave Penny again.
Season 6. I'm really iffy with this point. I liked how Desmond's arc ended and I wasn't a huge fan of him being brought back. I do like some of the moments with him character wise though, which show that even with iffy plots, his character helped shine some light in the story. He was able to appeal to a zombified Sayid to not kill him. He showed no fear when speaking to Black Locke. He sacrificed himself to go to the island's core. It shows that deep down inside, Desmond is a selfless man.
Flash sideways. Desmond had the best flash sideways by far. I wasn't a huge fan of the flash sideways in general, but it was cool to see him, kinda, as the main character in this directional narrative. Even though he was rich and had the respect of Charles Widmore, he was still empty in some way. The whole point of the flash sideways world was for the characters to subconsciously live out their lives, relive their past mistakes, but eventually to find who they truly are and to be able to move forward together. No matter what, him meeting Penny was inevitable. It was not just that which made Desmond great with the flash sideways story, it's the fact that he himself spearheaded the movement of getting everyone's memories back and was able to get the gang together for one final time. It was nice to see his charismatic side once again interact with the group as if it's the first time. It's kinda like fan fiction almost, a fresh start, a 'what-if' which actually occurred.
Desmond is a great character and one of the more iconic ones in the series. He is arguably the most important character in the series as well as he caused the plane to crash on the island as well as connecting the survivors with each other in the flash sideways world. It's great that he made it this far and his story is one of the best in all of TV history. So, it's clear. Desmond is a medium tier character who was brought to this position because his accent was Godly. /s
Hurley is the heart and soul of the show, the comic relief, the moral center, the one character Everybody Loves and no one could possibly dislike. He grows into a leader, a protector, a visionary, a deity. I think 7th is the perfect spot for him on our rankdown, and for my write-up, I want to explore Hurley's existence in our favorite show, in reference to a number of different characters, themes, or phenomenon.
Hurley and David Cortez: Being a Lost character, obviously Hurley has daddy issues, but I'm glad the show chose to resolve that amicably with David helping Hurley and Sayid out and generally seeming like a nice enough guy considering he abandoned the family and came back because Hurley won the lottery. I love Cheech as a recurring guest star, he has the perfect blend of comedy with the actual reality and gravity of the situation. I think it's also super interesting that they draw attention to David compelling Hurley to eat a candy bar and live a little as a kid, implication being that that started Hurley's overeating.
Hurley and the Numbers: The way I understand the numbers is that they are meant to be symbolic of the hands of fate/destiny. There is a mystery to be solved which is why those 6 numbers, and we find out that they're the 6 numbers that correspond to the final 6 to replace Jacob. So given the predetermination inherent to the Lost universe, I'd say it was always going to be those 6, and so that's why we see the numbers on jerseys, cop cars, addresses, etc. because we're meant to see how in the past and the present on the island, fate was leading the 6 candidates to make choices that would move them toward that destiny. Hurley is most closely connected to the numbers because he is the one who ends up being the Jacob at the end. He hears the numbers first from his buddy Leonard at Santa Rosa, who heard them being broadcast while in the navy (ostensibly from the island? same broadcast Rousseau's team picked up?). Leonard, and the similar story of Sam Toomey, ensure Hurley gets to Australia and is flying back on Oceanic 815, and one of my favorite scenes is in Exodus when Hurley runs/carts to the exit and makes it just in the nick of time, seeing a ton of the Numbers everywhere he goes, I posit because Destiny had to work overtime to get Hurley to the gate in time and make sure nothing got in his way, as existence depended on it.
Hurley Sees Dead People: I initially took it on face value when Hurley would say his visions were a curse, but Jacob is correct when he says it's a blessing for Hurley to be able to see his loved ones again after they've passed on. Hurley's main themes of being "crazy" and feeling he's cursed carry over pretty perfectly with this plot development. Hurley has felt cursed by the numbers and here feels cursed by something Jacob points out is a good thing. He worries hes crazy because he sees these visions, which must be reminiscent of seeing Dave on and off the island, but as Jacob tells him, and as Hurley eventually tells Walt, he isn't crazy, but the island is trying to signal him for something.
Hurley and Charlie: Hurley and Charlie are such a phenomenal comic duo through their three seasons together, they have this perfect bromance that begins with their fishing scene and golfing together, becomes more nuanced in Numbers. I think some of the most painful scenes of the show are ones where things don't go well between Charlie and Hurley, since they're meant to be this positive pairing that brings levity to the show's darker episodes. But they have conflict when Charlie becomes a surrogate DJ Qualls in 204, or when Charlie shares a personal secret with Hurley, and Hurley tries to reciprocate by telling him about the lottery, which Charlie thinks is mockery. I love that Charlie is there for Tricia Tanaka, that he and Hurley both reinvigorate their hope together when they get the van running. The last Charlie-Hurley scene of S3 is so heartbreaking and then rewarding, Charlie knowing he needs to get rid of Hurley somehow for his own safety and deciding the only way to do it is to insult Hurley to hurt his feelings, then immediately realizing that can't be their last memory together, and giving him a big hug instead :( The cannonball scene is one of my favorites in the whole show, where Hurley has this transcendental, blissful moment and then comes back down to earth and the scene becomes eerie and foreboding as Hurley sees Desmond pulling in from afar and can hear whsipering but has to slowly walk over to the obvious answer that Charlie didn't make it. Hurley is greatly affected by Charlie's death, being the one to tell Claire and giving a speech in favor of joining Locke because Charlie didn't trust the freighter people. Finally, Hurley is able to see Charlie again as a ghost, and in the Flash-Sideways he facilitates Charlie waking up, a great revisiting of their classic, iconic bromance that brought so much fun to the early seasons.
Hurley and Libby: Hurley and Libby were such a cute couple, but so short-lived. I think they did very quickly help each other with baggage, and that's what makes them a soulmate couple even though their relationship didn't even last as long as Sayid and Shannon's. I like that Hurley likes her and asks Sawyer and Michael about her and Sawyer does Sawyer things. It seems from the limited flashbacks we have, that Libby had a mental breakdown some time after the loss of her husband David, the one who gave her the boat, and ended up in Santa Rosa. Though we don't get a Libby episode before she dies, I think we can fill in the blanks to deduce that whatever baggage she held on to from that dark period in her life was eventually helped by her falling for Hurley, she was able to love again. In the meantime, Libby is amazing with Hurley's self-destructive overeating thing, especially with destroying the cache of food he has, and talking him through the Dave debacle. Their scene where she convinces him the Island isn't all in his head is really great and bonds the two of them together, sets us up for the heartbreak of Hurley forgetting to bring the blankets for their picnic, their first date, and poor Libby dying because of it. Hurley and Libby finally get more time together in the Flash-Sideways, which is amazing, starts us with what will be a long string of Remembering montages. Before that, Hurley talking to Libby's grave is another powerful moment in S6, asking her why she never comes to see him like Charlie or Eko or Jacob do.
Hurley and Jack: Hurley becoming a leader is ultimately one of the most important story lines of the show once we see its conclusion, and so much of that growth for Hurley comes through Jack. Hurley and Jack have the first really big intense moment of the show in my book, where Jack takes charge post-crash and has Hurley helping him, and Hurley turns back and asks his name, and there's this pause as the music intensifies, and then "Jack!", and it's so great. Hurley helps move Claire, and continues to report to Jack as like a loyal soldier, vaguely little brother-ish? after the crash as he deals with rations and searching the suitcases (where the B-O-D-Y-S are), he tries to help Jack with the Marshall (but he's not good with blood), and he leads a census (Spoiler: Ethan not actually from Canada). Hurley first shows real leadership in making the golf course, which Jack is skeptical about at first ("Jack is skeptical", shock of shocks), but Jack admits that he was wrong and Hurley was right that people needed to relax and take their minds off of things. I think that shows a strength of leadership that would make Hurley perfect for his ultimate role as New Jacob, that he has goals and motivations but also knows to keep all of his people happy where Jack isn't as concerned with Hearts and Minds. In season 2, Jack delegates again to Hurley with regard to the food in the Hatch, and Hurley (via Rose) finds a populist, reasonable answer to the problem. While Jack is gone for a while, Hurley grows more into a leader, representing the group in defeating Sawyer at ping pong, then tricking Sawyer to get him to bond with the group and maintain unity, as well as being chief investigator of the Nikki/Paulo deaths. The major pivot in the Hurley-Jack story is when Hurley decides to go with Locke over Jack in regards to avoiding the Freighter people, inspired by Charlie's sacrifice/Not Penny's Boat. Hurley apologizes to Jack later during Oceanic 6 times, but with his newfound ability to speak to the dead, Hurley has a lot more spiritual knowledge and I think that allows him to start getting through Jack's skull a bit. Jack is ever stubborn, but when he gets back to the island via Ajira, he's decided to just kind of let go of needing to be the alpha, and to just follow whatever. This I think is what creates an opening for Hurley to bring Jack over to the Faith Side, after Daniel brings him further into the Science Side and gets immediately killed. Season 6 gives us some really great Hurley Jack stuff, especially with Lighthouse and then Everybody Loves Hugo, with Hurley bringing Jack to the Lighthouse to see how predetermined and destined this all was, and to keep him safe from the Temple Massacre, and later taking a leader position in calling a meeting with MIB's side. In The End, it was Jack who passed the literal role of Leader to Hurley, which I read as symbolic of the progressive transfer of authority/deference we saw through the six seasons. Hurley being unsure that he can do the job of Protector and Jack reassuring him is a really great way for their story to end.
Hurley and Sawyer: I feel like Sawyer always had kind of a soft spot for Hurley even from the beginning with giving him the flight manifest "because I asked you to". He does call him nicknames, but he calls everyone nicknames, and I think most of the things he calls Hurley are terms of endearment like Freckles or Blondie. They first get paired together I think with the frog hunting scene, where they have like a bonding thing but then Sawyer at the end is an asshole and Hurley is a sweetheart and so they clash. Sawyer does kind of help with Libby, setting up the laundry room meeting for Hurley, Sawyer definitely is like a big brother to Hurley if Jack isn't. Season 3 is where they become a frequently used pair, leading all of the plots on the main beach for the time that Jack-Kate-Locke-Sayid are at the Barracks. When Sawyer comes back, they do Tricia Tanaka is dead, the funniest episode of Lost ever and the source of my reddit username. Sawyer and Hurley are an incredible comedic pair the whole episode, but the "What's your problem, Jumbotron?/shut up... red...neck...man/... touche" is obviously my favorite bit. The "Roger Workman/It's Work Man, ya blockhead" is also incredible though. Hurley wants Sawyer to take over for Jack as leader and so he consciously tries to do PR for Sawyer, getting him to be nice to Claire, beating him in ping pong so that he can't call people nicknames for a week. The season 3 finale has a great Sawyer-Hurley story with Sawyer telling Hurley he can't help them and would just get in the way, right after Charlie said the same thing to him, and then Hurley ends up saving the day with the same van he convinced Sawyer they should fix in Tricia Tanaka. I love Sawyer and Hurley as roommates in season 4, watching Xanadu or whatever it is. Sawyer is super protective of Hurley and I remember him telling Locke that he'll kill him if he does anything to hurt Hurley. Sawyer makes sure Hurley gets off the island with the Oceanic 6 as well. I wish their friendship could have had more focus in season 6 but they're separated for a lot of it.
Hurley and Sayid: On the island, Hurley and Sayid had a great low key relationship that started when Hurley came to Sayid to offer support after Sawyer was saying racist things to him. They're the two characters who have interactions with Rousseau in the first season which bonds them, and they end up having similar tragedies with Shannon and Libby being killed a couple weeks apart. Along with Sawyer and the others, Sayid was saved by Hurley in the S3 finale with his van move, and later in season 5/6, Hurley again saves Sayid by bringing him to the spring to be healed from the gunshot. Off island, Sayid helps Hurley get out of Santa Rosa safely, but Hurley ends up saving Sayid when he gets Tranqed. I think Sayid-Hurley is one of the best parts of season 5, especially off-island stuff, it feels kind of like a Seth Rogen action movie where like Hurley is a stoner pacifist nerd and Sayid killed a guy with a dishwasher full of knives. The juxtaposition is great, as is Hurley having to save Sayid repeatedly as opposed to the other way around.
Hurley in the Flash Sideways: I've talked about Hurley and Libby, who Desmond puts together to help them wake up. Once Hurley knows what's going on, it becomes much easier to make things happen as he has the resources. I love watching him reunite with Charlie before Charlie knows anything about why Hurley's smiling like a sodding idiot, and then bring Shannon and Sayid together as well with Boone's help. I think FS Hurley shows the kind of leader he likely was as Protector of the Island, resourceful, good with people, and thinking in populist terms, making sure everyone is looked out for and in on what's happening.
So there you have it. Hurley is a fantastic funny character, impossible to dislike, he starts out treating Jack and later Sawyer as the leaders, defering to them, but ends up growing into a strong and diplomatic leader himself, ultimately reaching Jack and bringing him toward being a Man of Faith. Hurley is honest and genuine and tries to do the right thing, and he also exists as a surrogate for the audience to ask/say things people at home are thinking, most notably in his hilarious and informative talks with Miles about time travel. Hurley is a pop culture nerd who brings comic books and Star Wars into the lexicon and/or bibliography of Lost along with all of the classic literature and philosophy writings. I like to think that his leadership went very well. In the Epilogue, we see him send Ben to shut down the Dharma food drops and tie up loose ends, and then Hurley and Ben convince Walt to come back with them to the island to talk about a job, implying that Walt is meant to be the true long time Protector of the Island after Hurley. He ostensibly got Desmond home safe to Penny, and I like to think he went to visit Sawyer, Miles, Kate, Claire, etc. regularly. I wish we could have seen more Hurley-Ben leader time, since they were another great pairing I could have written about, bonding during the Cabin Fever era (Hurley offering Ben half of his candy bar <3) all the way through to the finale where Ben saves Hurley from a falling tree, then Hurley convinces the group to save Ben when it falls on him. Another great juxtaposition pairing, Hurley the gentle giant sweetheart and Ben the evil conniving creeper, and even Ben seems to like Hugo the whole time. Everybody Loves Hugo.
So, there's 24 hours for anyone with a remaining Veto to use it on Charlie. Assuming no one does so, we have our top 8.
How this will work: We're all gonna send our ranking of the remaining eight people, 1 being your favorite, 8 being your least favorite. I think /u/missasotweaky has offered to collect them?
We also need to figure out who is going to write for whom. I've been planning to write the Kate write-up from the start of the rankdown so I'd like to do that one for sure. I know Missasotweaky is adamant that she write the Jack write-up. I'd say probably my next top write-up druthers would be Hurley and Sawyer, but if anyone else is gung-ho about taking them, no worries.
Just wanted to make sure to clarify stuff in case you guys didn't read back. So we are doing rankdown until The End(game), which is final 8. And then at that point, it's a legit ranking, and we'll each choose 2 people to do write-ups for.
We each have one idol/refresh/veto thing. If someone makes a cut you disagree with, you can use your idol and void the cut, and that person cannot cut the same person a 2nd time.
We each have one Oceanic 5. This is basically giving someone immunity for a set amount of time, halfway to the endgame final 8. So if you use it at top 20, halfway to 8 would be 6 spots, so you're saving the person until top 14. Use it at 10, you sve them for one spot to top 9. Etc. Charlie has already been saved by a ranker who moved on, and becomes a cut option at top 24.
This here is a rankdown of the characters from Lost. From the main characters like Jack, Kate, and Locke to the minor characters like Frogurt, Scott (or is it Steve?), and much more. They will all be ranked from worst to first. Anyway, I hope you all enjoy it.


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Spirit Guide at Elie Wine Co.
Todd had this 24 days ago
Todd had this 2 months ago
Aromas of smoked meat and flowers precede a red and blue berry salad. A sip is dense but not thick, somehow simultaneously wiry and generous with a mineral vein that goes on for miles. — 3 months ago
I've been crushing this rosé. produced mainly from Garda's local Groppello variety. Poundable but not simple. Sappy minerals and alpine strawberries. — 2 months ago
Todd had this 2 months ago
Little sign of the hallmark carbonic maceration smells of strawberries and cinnamon. In their place are more elegant Burgundian aromatics of cherry licorice, flower gardens mulched with fresh forest compost, and just a wee curl of sandalwood smoke. A sip is structured and dense with sappy wild bramble fruit. If any comparison to Cru Beaujolais is to be made, it has to be to the age-worthy specimens from Morgon and Moulin-à-vent. — 3 months ago
Todd had this 3 months ago
Aromatically hard to distinguish this from a good Amontillado: smoked almonds, cheese rind, herb liqueur. Bone dry and racy on the palate without the bracing acidity of Vin Jaune or Amontillado. Someone hook a brother up with some fried smelt. — 3 months ago


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If there is one thing that must be mentioned without being favorable to synthetic worms is that they are mostly used when fishing in clear waters. You are therefore limited in what you can do with them but seeing that bass usually bite when you
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One of the first things that you ought to take into account when you′re sifting through the many choices available out there is that a combo can be used right out of the box. If you have little to no experience when it comes to
Spring is we can say the ideal season for catching bass but not the only one. It all depends on when the water temperature reaches the necessary values so that it can offer the conditions needed for breeding and spawning. In countries from the Northern
Fiberglass Rods:Typically geared towards beginners. These rods require little maintenance and are of an average weight and solid rod strength. If you are fishing for larger fish such as muskie walleye or pike where you need a heavy durable rod for retrieving the fighting fish
Action: Affects your casting distance and accuracy also relating to the lure or bait you need and the strength of the reel that should be used. The smaller the fish the lighter the action needed while the heavier the fish the heavier the action. An
Saltwater Casting & Conventional Rods: The reel and line are seated on top of the rod and the trigger grip lets you hold the rod securely while releasing the thumb bar/line release. A quick taper at the rod tip for accuracy and a large backbone
Since they are so cautious bass will swim away from their usual places only very early in the morning and late in the evening. Some anglers swear by their bass fishing nighttime adventures but it is not a good idea to base your next fishing
Now that you know what hours of the day are the most indicated for bass fishing it is the right time to get acquainted with the type of equipment seasoned anglers use when they go fishing for bass. This advice will help you catch more
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Jet Set
by Jason Oliver Nixon
Sky Writing
by Sarah Elbert
In this issue:
The Renaissance Woman
Also: Amy Adams has starred in fairy tales, dramas and everything in between. This month, she channels her dark side in HBO's Sharp Objects.
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Las Vegas has been put on the map with the same refined culinary cities such as New York and Los Angeles.
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SAN FRANCISCO, Oct. 7 -Applied Biosystems, as the successor to the Perkin-Elmer Corporation, was held liable for $13.3 million from a jury verdict last week in a Waters' subsidiary TA Instruments' lawsuit against PE.
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In a commentary at eLife, Brandeis University's Eve Marder calls on researchers to value and pursue truth.
Researchers have developed a way to quickly edit white blood cells, according to the New York Times.
In Science this week: rice gene enables plants to grow quickly in times of flooding, and more.
Education-linked genetic variants could also predict a small portion of a person's social mobility, Newsweek reports.
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Quilt Sets, Children Bedding Thin Quilt Set Blue White Yellow Colored In Shades Square Blanket Than White 2pcs Twin Pillows Also Wooden White Headboard And Blue Wall A Little Square Table: Marvellous Thin Quilted Comforter Home Design
Published at July 05th, 2018 05:15:27 AM by Renars
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Here it is... the towel that's taking the internet by storm. Our round beach towels are 60" in diameter and made from ultra-soft plush microfiber with a 100% cotton back. Perfect for a day at the beach, a picnic, an outdoor music festival, or just general home decor. This versatile summer essential is a must-have this season!
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Logging Clemons camp #3 #1 Steam donkeys Grays Harbor County, Washington State Circa 1920 Darius Kinsey Photo (1869-1945) Photo Accession CV # 86-036-0001
California Views was established November 29, 1970 and is located in historic Monterey, on the California Central Coast, this unique photo archive is the most comprehensive Historical Photo Collection of the Monterey Bay area. Many of the images we have are one of a kind rare and unique images that we have the original glass or film negatives that will insure the best quality in almost any size print from 11x14" - 48x96". Pat Hathaway and California Views are names that have become synonymous with Monterey History and historical images of the California central coast. We have some of the earlist photos of Monterey. California Views Photo Archive is constantly seeking to add historical photographs to its archives. If you have any...
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