Easter eggs for 6.12
Written 14th April
Here’s Your Easter Eggs
Hurley made a huge donation to the museum where Pierre Chang and Charlotte work, to the paleontology wing, because I guess he knows that all birds (including chicken) evolved from the dinosaurs.
The Human Fund
Hugo mentions to his mom that he must attend an event for the Human Fund. This is a fictional charity created by George Costanza on Seinfeld
The waiter at the restaurant where Hugo and Libby met in the altverse was played by Jesse Smith, who played one of the random background extras who survived the plane crash in the first few seasons.
The restaurant Hugo goes to is called Spanish Johnny’s, most likely a reference to a character in the Bruce Springsteen song “Incident on 57th Street.” Even better that he is meeting Rosalina (who stands him up), who is the main character on the very next track, Rosalita.
At Mr. Cluck’s there’s a sign for new Outback Roasters, suggesting that this new Australian-themed item was the reason for Hugo’s Sydney trip. The tagline, “It’s like a walkabout in your mouth,” also refers to the walkabout trip John Locke tried to take.
At Mr. Cluck’s, Desmond is order number 42,one of the Numbers.
The Island in the Office
In Dr. Brooks’ office, there’s a picture of an Island, much like the Island Hurley was on in the original timeline.
In the room of patients at Santa Rosa, there is also an island drawn on the blackboard, complete with a shark in the water like the DHARMA shark from the original Island.
A patient plays Connect Four at Santa Rosa, a game Hurley played in the original timeline with both Leonard Simms and Dave
The Picnic Date
Before Libby died, she and Hurley planned their first real date as a picnic on the beach. In the altverse, this was their first date (as Libby said, it’s like the date they never had)
Desmond tells Ben that his son is named Charlie (without missing a beat) in the altverse. In the original timeline, this was Desmond’s son’s name, a possible hint that Desmond in the altverse has all his memories from the original timeline
The license plates on Desmond’s car in the altverse change between the time he drives away from Hugo and Libby on the beach (4PCI264) and the time he runs over Locke (2FAN321), either a continuity error or a sign that he changed the plates to avoid being identified as the man who drove into Locke.
In case you forgot, Dr. Brooks was also in charge of Santa Rosa when Hurley was there in the original timeline in the episode “Dave.”
The Exploding Human
Ilana explodes while handling dynamite from the Black Rock the same way Leslie Arzt did at the end of season 1 (but I personally think this was the writers shout out to heroes (how to stop an exploding man from their season 1 finale). In the words of Ben, no sooner than she tell you who you guys are, candidates and what she was here to do, she dies. The Island (thank goodness) was done with her (such a waste of space character, why did she get bumped up to a main character?). What does the island have in store for the rest of the Losties (shudder to think about it).
Notes from Underground
After Ilana explodes, Hurley finds a copy of Fyodor Dostoyevsky’s Notes from Underground, a novel whose themes echo the series, as it is about free will and about the fact that determinism or fate is not valid because people can sometimes to things without reason or purpose just to prove that they have free will, as when Hurley later goes to see Flocke just to prove he can. (for even more info please see book report toward the end)
The Black Bag
There are three option as to what the contents are:
1. The stolen diamonds Miles found via Nikki and Paulo (not likely Miles would have been more careful)
2. The black and white stones (I am pretty sure jack still has those)
3. Jacob’s ashes (most likely since it was Illana that blew up)
The Boy in the Jungle
The boy in the jungle was not (in my opinion) the same boy the same one who haunted Flocke in “The Substitute.” Now I read theory that some people thought that this was the same boy, just that he had aged and this boy is a reminder to Flocke that he needs to leave soon before the boy morphs into a full grown MIB, but that is lame. Does his smile to Desmond suggests he either knows Desmond or the two are on the same side? Desmond can see the boy, much like Sawyer could see the other boy, so what the hell does that mean?
What is the Island?
Richard asks Hurley to prove he’s talking to Jacob by revealing what he compared the Island to. Richard is referring to the scene in “Ab Aeterno” when Jacob described the Island as a cork keeping evil (or the wine) in the bottle.
Hurley finally reveals a longstanding question about the Whispers, describing them as noises from dead people who’ve done bad things and are unable to move on, suggesting that the Island may actually be a type of limbo.
Flocke throws Desmond into a well. This well is similar to the one outside of the Orchid Station that John Locke descended into to find the frozen donkey wheel that moved the Island.
This is all courtesy of Wikipedia because I haven’t read this book at all
I think this might be an important clue because I remember that Locke gave Ben (back in the good ole Henry Gale days) a book, The Brothers Karamazov also by the same author.
Notes from the Underground (a short novel) by Fyodor Dostoevsky
It is considered by many to be the world’s first existentialist novel. It presents itself as an excerpt from the rambling memoirs of a bitter, isolated, unnamed narrator (generally referred to by critics as the Underground Man) who is a retired civil servant living in St. Petersburg. The first part of the story is told in monologue form, or the underground man’s diary, and attacks emerging Western philosophy, especially Nikolay Chernyshevsky’s What Is to Be Done?. The second part of the book is called “Apropos of the Wet Snow,” and describes certain events that, it seems, are destroying, and sometimes renewing the underground man, who acts as a first person, omniscient narrator.
It consists of an introduction, three main sections and a conclusion. (i) The short introduction propounds a number of riddles whose meanings will be further developed. (1) Chapters two, three and four deal with suffering and the enjoyment of suffering; (2) chapters five and six with intellectual and moral vacillation and with conscious “inertia”-inaction; (3) chapters seven through nine with theories of reason and logic; (c) the last two chapters are a summary and a transition into Part 2.
War is described as people’s rebellion against the assumption that everything needs to happen for a purpose, because humans do things without purpose, and this is what determines human history.
Secondly, the narrator’s desire for pain and paranoia is exemplified by his liver pain and toothache. This parallels Raskolnikov’s behavior in Dostoevsky’s later novel, Crime and Punishment. He says that, due to the cruelty of society, human beings only moan about pain in order to spread their suffering to others. He builds up his own paranoia to the point he is incapable of looking his co-workers in the eye.
The main issue for the Underground Man is that he has reached a point of ennui and inactivity. Unlike most people, who typically act out of revenge because they believe justice is the end, the Underground Man is conscious of his problems, feels the desire for revenge, but he does not find it virtuous; this incongruity leads to spite and spite towards the act itself with its concomitant circumstances. He feels that others like him exist, yet he continuously concentrates on his spitefulness instead of on actions that would avoid the problems he is so concerned with. He even admits at one point that he’d rather be inactive out of laziness.
The first part also gives a harsh criticism of determinism and intellectual attempts at dictating human action and behavior by logic, which the Underground Man mentions in terms of a simple math problem two times two makes four (see also necessitarianism). He states that despite humanity’s attempt to create the “Crystal Palace,” a reference to a famous symbol of utopianism in Nikolai Chernyshevsky’s What Is to Be Done?, one cannot avoid the simple fact that anyone at any time can decide to act in a way which might not be considered good, and some will do so simply to validate their existence and to protest and confirm that they exist as individuals. For good as a general term is subjective and in the case of the Underground Man the good here he’s ridiculing is enlightened self interest (egoism, selfishness). It is this position being depicted as logical and valid that the novels protagonist despises. Since his romantic embracing of this ideal, he seems to blame for his current base unhappiness. This type of rebellion is critical to later works of Dostoevsky. As this type of rebellion is used by adolescents to validate their own existence, uniqueness and independence (see Dostoevsky’s The Adolescent). Rebellion in the face of the dysfunction, disorder of adult experience, that one inherits under the understanding of tradition and society.
In other works, Dostoevsky again confronts the concept of free will and constructs a negative argument to validate free will against determinism in the character Kirillov’s suicide in his novel The Demons. Notes from Underground marks the starting point of Dostoevsky’s move from psychological and sociological themed novels to novels based on existential and general human experience in crisis.
The second part is the actual story proper and consists of three main segments that lead to a furthering of the Underground Man’s super-consciousness.
The first is his obsession with an officer who physically moves him out of the way without a word or warning. He sees the officer on the street and thinks of ways to take revenge, eventually deciding to bump into him, which he does, finding to his surprise that the officer does not seem to even notice it happened.
The second segment is a dinner party with some old school friends to wish Zverkov, one of their number, goodbye as he is being transferred out of the city. The underground man hated them when he was younger, but after a random visit to Simonov’s, he decides to meet them at the appointed location. They fail to tell him that the time has been changed to six instead of five, so he arrives early. He gets into an argument with the four after a short time, declaring to all his hatred of society and using them as the symbol of it. At the end, they go off without him to a secret brothel, and, in his rage, the underground man follows them there to confront Zverkov once and for all, regardless if he is beaten or not. He arrives to find Zverkov and company have left, but, it is there that he meets Liza, a young prostitute.
The story cuts to Liza and the underground man lying silently in the dark together. The underground man confronts Liza with an image of her future, by which she is unmoved at first, but, she eventually realizes the plight of her position and how she will slowly become useless and will descend more and more, until she is no longer wanted by anyone. The thought of dying such a terribly disgraceful death brings her to realize her position, and she then finds herself enthralled by the underground man’s seemingly poignant grasp of society’s ills. He gives her his address and leaves. After this, he is overcome by the fear of her actually arriving at his dilapidated apartment after appearing such a “hero” to her and, in the middle of an argument with his servant, she arrives. He then curses her and takes back everything he said to her, saying he was, in fact, laughing at her and reiterates the truth of her miserable position. Near the end of his painful rage he wells up in tears after saying that he was only seeking to have power over her and a desire to humiliate her. He begins to criticize himself and states that he is in fact horrified by his own poverty and embarrassed by his situation. Liza realizes how pitiful he is and tenderly embraces him. The underground man cries out “They – they won’t let me – I – I can’t be good!” After all this, he still acts terribly towards her, and, before she leaves, he stuffs a five ruble note into her hand, which she throws onto the table. He tries to catch her as she goes out onto the street but cannot find her and never hears from her again. He tries to stop the pain in his heart by “fantasizing”, “And isn’t it better, won’t it be better?…Insult – after all, it’s a purification; it’s the most caustic, painful consciousness! Only tomorrow I would have defiled her soul and wearied her heart. But now the insult will never ever die within her, and however repulsive the filth that awaits her, the insult will elevate her, it will cleanse her…” He recalls this moment as making him unhappy whenever he thinks of it, yet again proving the fact from the first section that his spite for society and his inability to act like it, makes him unable to act better than it.
My WTF moment of the show was when Desmond ran over Locke. Now, ever since LAX when Charlie said he was suppose to die, I had an inkling that the ones in the know about what is going on are ones who have died on the island in the original timeline. Now I remember hearing a podcast when Darlton said we should be wondering what would happen if someone died in the FSW and was also dead in the original timeline, I guess we are about to find out. Now, I have a few theories about why Desmond did what he did:
1. If ‘true love” is the trigger, Locke would never be able to remember because he is in love with Helen and Helen was never on the island, so Locke would need a near death experience to trigger his memories.
2. The Island is Locke’s true love.
3. He is trying to trigger Jack’s memory, which I think is the answer because of how the show ended last night with the stare down between Jack and Flocke.