You'll find the image in the new issue of EW, annotated with some analysis by yours truly. Here, we offer it to you free from my theoretical blemishes. Last week, I analyzed the begeezus out of the first of the three images, and I'm tempted to do the same here. At the same time, I noticed that so many of you were activated by the images and enjoyed the thrill of discovery. So I'm going to try and limit my own deciphering and leave some of the Dan Brown-ing to you. What's up with Claire switching sides of the table? What's up with Sun moving closer to Jin? Why is Miles the only character who changes position in each image? Why does Ben whiplash from Locke to Lapidus? These questions are for you. Share your theories in the Comments section below, or send them to me at firstname.lastname@example.org. We'll do a round up of your ideas in an upcoming column.
THROUGH THE LOOKING GLASS
Consider the three images as a series or aforementioned triptych. The first picture that was released by ABC (via Us Weekly) had all the characters looking toward John Locke. The second image changed a few details, but the most notable was that all the characters were looking toward camera. Now, let's be come-to-Jesus honest. For all our overheated analysis, those two images, taken together and alone, were probably more fun and functional than anything else. Consider the first a nifty novelty, one that reflected the show's Biblical imagery and themes, and winkingly poked at our hyper-scrutiny/conspiracy thinking about the show. Consider the second merely a traditional, official cast photo for the season.
Yet by throwing this third image into the mix, new meanings can be drawn from their order and juxtaposition. The second image call it ''Lost Supper 2'' in particular demands an alternative reading. It now serves as a pivot between Lost Supper 1 and Lost Supper 3. And the camera-facing gaze can no longer be dismissed as cast-photo convention. I argue that it's a choice designed to break the wall between the characters and the reader. They are literally looking through the looking glass of the camera at us. The flow of images reminds us or at least just me of what Jack and Co. were trying to do by blowing up Jughead in the season 5 finale: create a reality-breaking paradox in order to escape from one frame of existence into another.
Complimentary Digression No. 1: Speaking of breaking the fourth wall: Have you seen these Lost promos for Sky 1 in England? Hit the link and watch the first video.
FUN FACT! The Last Supper Jesus' final meal with his disciples before his crucifixion is commemorated by Christians through the sacrament of Communion, the eating of bread and drinking of wine in remembrance of Christ's sacrificial death and resurrection. Some Christians believe that when you eat the bread and drink the wine, the stuff actually converts into the body and blood of Jesus during digestion, although their appearances remain the same. (Which explains the weird carpentry aftertaste.) This miraculous conversion is known by a fancy term: Transubstantiation, ''the conversion of one substance into another.'' Example sentence: ''If Jack's ''Jughead'' plans works, he and the castaways will be transubstantiated into a new reality.''
Complimentary Digression No. 2: Speaking of things that change in nature without changing in form, did you watch the second Lost promo from Sky 1?
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