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His conversion is a far more convincing case for the need of faith as revealed through grace than you'll ever see coming from stories told by conservative Christians (e.g., If one introduces a narrative element, regardless of whether it's a place, character/group, or even motif, and regardless of whether any of those is supernatural or natural, the audience has a reasonable expectation that it'll serve some purpose to the story unfolding.

That is to say, its function is as a problem, not a mystery.

Similarly, when a major character like Juliet is introduced via her role in attempting to solve why babies can't be conceived on the island and that element is tied into numerous other subplots (such as the kidnapping of Claire's child), the audience has a reasonable expectation that all this baby stuff is somehow more significant than just giving the writers a baroque technique for introducing a character.

Instead, those threads were cut in favor of introducing the sideways timeline, which then became the primary plot to be resolved in the finale.

As such, Assam today is a highly hybridized place that nonetheless is struggling for autonomy.) is a traditional Vaishnav musical theatre dating back to the 1400s.

The earliest known settlers in Assam are believed to be the Khasi and Synteng people of southeast Asia.

The were later marginalized by the arrival of the Tibeto-Burman language speaking Monpas, Sherdukpens, Bhutan, Mishings, Deuris and Bodo-Kachari.

Somewhere along the way Lindelof and Cuse must've realized what a non sequitur the sideways timeline was going to be, so they created a preemptive defense that went something like this: This was their story, and they were going to end it the way the saw fit, namely by focusing on the main character arcs and answering only those questions that pertained to this goal.

It wasn't their job to spoon-feed us all the solutions to the narrative riddles they'd created.

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