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He is later seen accompanying Sun. After the timeshifts and an attack on the survivors, Vincent ends up with Rose and Bernard in 1974. All three make a new home in the jungle and are found three years later by Sawyer, Juliet and Kate. Vincent is last seen at Jack's side in the series finale, recalling the opening scene of the pilot episode.
Lost ' s finale, though, was not too obtuse." [57] Some reviewers ended puzzled about the meaning of Lost. Tim Teeman in The Times referred to "a global scratching of heads" in his review but concluded "The questions are ceaseless: it may be healthier, as one online fan put it, 'to just accept it and move on ' ". [58]
This is an accepted version of this page This is the latest accepted revision, reviewed on 31 January 2025. American television series (2004–2010) For the 2021 South Korean drama series, see Lost (South Korean TV series). For the American reality series, see Lost (2001 TV series). Lost Genre Adventure Hybrid Mystery Science fiction Serial drama Supernatural Survival Thriller Created by ...
The couple's backstory was planned to be told during season three; [20] however during season two, the Lost writers wanted to tell the story of one of the background characters of the show. [24] As Rose and Bernard are the most prominent of these characters, and fans were keen to learn their backstory, they decided to do an episode focusing on ...
Madison is a Labrador Retriever, and an animal actor best known for playing the role of Vincent the dog on the television series Lost. Even though she is female, she played a male dog on the show. Even though she is female, she played a male dog on the show.
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Vincent leads Shannon to Boone's makeshift grave, where she stops to reflect. Sayid Jarrah (Naveen Andrews) finds her and asks what she is doing. She tells him she's going to find Walt and gets up to continue following Vincent. Sayid comes along, protesting. Shannon yells at Sayid, telling him that he does not believe in her and is going to ...
Although that film is set in 1999, it’s an aphorism that would work equally well in Stéphan Castang’s fun, violent, high-concept “Vincent Must Die,” as a punchy summation of post-pandemic …