Thanks to Tinny815 for the heads up.
Here's an article about how Lost is used in 'This is 40'. The character of Sadie is a massive Lost fan, and her reactions to the show would probably be very relatable to many of us.
Warning: Spoilers for 'This is 40' and Lost
Judd Apatow continues his trend of cataloguing life’s dips and peaks with This Is 40, his revival of Knocked Up supporting characters Pete (Paul Rudd) and Debbie (Leslie Mann). Here, the pair is charged with the central task of exemplifying the middle age: money problems, troublesome family members, a deterioration of their romantic relationship... and, above all, Lost. While the spotlit couple deal with issues like attempting to cut the perpetual cash flow to Pete's needy father (Albert Brooks), and shooting away to brief vacations in the effort to revive their sensual passions, the pair's middle school-aged daughter Sadie (played by Apatow and Mann’s daughter Maude) undertakes her own emotional arc. It doesn't much have to do with her entry into puberty, her chaotic relationship with her younger sister (Iris Apatow), or the Tom Petty-lookalike (Ryan Lee of Super 8) who makes her a target of his Internet bullying. In fact, it has to do entirely with Lost, and her wide-eyed experience binge-watching the ABC drama for the first time on her iPad.
GALLERY: Paul Rudd is 40?! And More Stars Who Never Age
At the beginning of the movie, we learn that Sadie is quite a ways through the island series, nearing the hotly contested finale with vigor, when her parents put a cork in the household's Internet access. Sadie is forbidden from watching any more Lost; Pete and Debbie are concerned about how obsessed their daughter has become with the show. As the movie carries forth, Sadie vocalizes heated complaints about her parents' decision, growing anxious over her lack of narrative closure (they cut her off with only a few episodes to go). Sadie lashes out against Pete and Debbie, identifying Lost as a complex and important emotional saga, and defending it against her father's preferred television choice of Mad Men. It's fair to say that the vast majority of Sadie's dialogue at least revolves around, if not delving into explicit and lively detail on, Lost.
Even with the pop culture reference pandemic that has overtaken the film and television industry, it is unprecedented for a movie to devote such a large amount of its screentime, not to mention emotional revenue, to a separate piece of contemporary fiction. A This Is 40 viewer could argue that Sadie's entire character arc revolves around her watching of the show. The adolescent daughter of Pete and Debbie enters our lives with one clear-cut mission: to complete the ABC series. Her primary conflict arises when her parents deny her this right. Emotional turmoil overtakes Sadie in this chapter of the story, launching her into manic tangential scenarios such as a pattern of escalating fights with her affectionate younger sister, and aforementioned digital face-off with a seemingly insensitive classmate. But even with enough meat to stand independently, both of these side stories — likewise Sadie's uneasy relationship with her estranged maternal grandfather (John Lithgow) — are satisfied by the impassioned young lady's lifted prohibition. At last, she triumphs in concluding the six-season drama, bawling openly to her father about the fates of her favorite characters. "They were all dead," Sadie cries, hoping to transmit the significance of this horror to an uninterested Pete. Her world is upside down.
Source: Full Article @ Hollywood
GALLERY: Paul Rudd is 40?! And More Stars Who Never Age
At the beginning of the movie, we learn that Sadie is quite a ways through the island series, nearing the hotly contested finale with vigor, when her parents put a cork in the household's Internet access. Sadie is forbidden from watching any more Lost; Pete and Debbie are concerned about how obsessed their daughter has become with the show. As the movie carries forth, Sadie vocalizes heated complaints about her parents' decision, growing anxious over her lack of narrative closure (they cut her off with only a few episodes to go). Sadie lashes out against Pete and Debbie, identifying Lost as a complex and important emotional saga, and defending it against her father's preferred television choice of Mad Men. It's fair to say that the vast majority of Sadie's dialogue at least revolves around, if not delving into explicit and lively detail on, Lost.
Even with the pop culture reference pandemic that has overtaken the film and television industry, it is unprecedented for a movie to devote such a large amount of its screentime, not to mention emotional revenue, to a separate piece of contemporary fiction. A This Is 40 viewer could argue that Sadie's entire character arc revolves around her watching of the show. The adolescent daughter of Pete and Debbie enters our lives with one clear-cut mission: to complete the ABC series. Her primary conflict arises when her parents deny her this right. Emotional turmoil overtakes Sadie in this chapter of the story, launching her into manic tangential scenarios such as a pattern of escalating fights with her affectionate younger sister, and aforementioned digital face-off with a seemingly insensitive classmate. But even with enough meat to stand independently, both of these side stories — likewise Sadie's uneasy relationship with her estranged maternal grandfather (John Lithgow) — are satisfied by the impassioned young lady's lifted prohibition. At last, she triumphs in concluding the six-season drama, bawling openly to her father about the fates of her favorite characters. "They were all dead," Sadie cries, hoping to transmit the significance of this horror to an uninterested Pete. Her world is upside down.
Source: Full Article @ Hollywood
