These mobisodes show the characters of the series interacting in situations that complement what has already been seen on the small screen. These interstitial contents complete narrative gaps that in the original story disappeared within the logical ellipsis of any narrative (Scolari, 2013a: 162).

This type of communicative practice based on the interaction between fiction and the viewer is perfect for a series of these characteristics. Burke (2007: 107) considers that “modern television is a medium of mass communication, and Lost is the focal point of a mass meditation that goes beyond the limits of that television,” transcending different media, audiences, and narratives. If there were one thing that characterised the narrative of this series, it would be its complexity, including hybridization of genres and interconnection between plots and characters. The launch of these episodes on the Internet continues this premise by completing plots from different moments of the series. Likewise, it can be observed how not all of the main actors appear in these productions. The presence of important figures such as Evangeline Lilly, Josh Holloway or Terry O’Quinn is missing. On this occasion, the negotiation of agreements was decisive. However, the scriptwriters managed to compose questions and scenes that were appreciated by the followers of the show. In this way, the emotional relationship with the viewer is supported. These short films are providing small moments that complete scenes and dramatic moments from the fictional work. In fact, its narrative importance is recognised. All of them “were included as extras on the fourth season DVD” (Ramos and Lozano-Delmar, 2011: 426).

The mobisodes created by the screenwriters are not intended to solve mysteries or shed light on issues raised in the series. Probably the opposite. These short films complete events omitted from the plot, but at the same time play with the mystery and uncertainty of the viewer. They do not present new subplots. They support the main one based on the relationships between characters. This is the case of the episodes focused on Jack during his stay with The Others, or the daily life of the various castaways in the camp. All of these plots were ignored in the series due to insufficient time and plot priorities. This situation occurs with every webisode made, but the last of them deserves special mention as it starred Jack’s father. It was an episode focused on events that took place at the same time as the beginning of the series, but it is the only one that offered clues for the future of the series and its final conclusion in the last season.

There are also different television genres in each episode. Lost “can be considered innovative, and at the same time paradigmatic of the multi-genre aspect that characterises television at the beginning of the 21st century” (Tous, 2009: 178). We can find mobisodes of comedy starring Hurley, mystery by Ben and Juliet, or manners by Jin, Sun and Michael. It is a way of making an interesting product and continuity with the series by offering in each episode an unexpected genre for the viewer related to the characters and maintaining the signs of identity of the whole.

From the transmedia construction point of view, these episodes manage to generate a consensual vision of the plot. This type of production that seeks communion with the audience and the faithful spectator allows the development of elements of participation that support the collective intelligence of the fictional universe of the series. The communities of followers organise, debate and consume these episodes as works to create the great puzzle, which is the plot. The interaction between them means the continuation and unique construction of the message. The online fan communities can be considered as “self-organised groups centred around collective production and debate, as well as the propagation of meanings, interpretations and fantasies in response to various artefacts of contemporary popular culture” (Jenkins,