Breaking Bad was one of the most critically acclaimed shows to ever air, and Lost was one of the most influential. Both shows’ finales received similar attention before they premiered but drew wildly different types of attention post-airing. Lost did not fare quite as well as Breaking Bad did.
After Breaking Bad ended in 2013, the internet was flooded with tweets about it. Many of these tweets were aimed directly at Damon Lindelof and Lost:
“Screw you @DamonLindelof for not giving us such a perfect ending for Lost like Vince Gilligan did for @BreakingBad_AMC!”
Here is the link to more examples and an article written about them: https://ew.com/article/2013/09/30/breaking-bad-lost-finale/
And here is Damon Lindelof’s take, co-writer of Lost:
I know it’s a small vocal minority, like most negative air on the internet, but in this case I don’t think they inaccurately portray a consensus that Breaking Bad outdid Lost with its ending.
Because Breaking Bad’s ending, unlike Lost’s, was satisfying.
And that’s what we want, right? After investing dozens of hours into a show we want to be satisfied!
But a satisfying ending doesn’t necessarily mean it’s a good one. It is always immensely satisfying to watch Rocky beat the Cold War out of Ivan Drago while simultaneously avenging his friend, but that doesn’t make it a good ending. Lost’s finale, “The End,” makes some mistakes and may not be as satisfying as Breaking Bad’s finale, “Felina,” but it stays truer to its show, resulting in a more appropriate finish to its series.
I’m going to break this comparison up into three parts of what I believe makes a good finale. These are not the only aspects of a series ender that impact its effectiveness, but they are some of the most important: Characters, Themes, and Reflection
I want to make clear right now that I believe Breaking Bad is a stronger series overall than Lost. I am strictly comparing the finales and how well each ending wraps up its respective show.
Spoilers for the entirety of both series ahead
Lost was adamant that it was always about its characters and not the mysteries. It was stated repeatedly by the writers that the mysteries that would be solved would be the mysteries that mattered to the characters. While characters are absolutely integral to any story, it is not true that Lost was not also about its mysteries. The mysteries were a major draw to the series and it is understandable that many viewers were left underwhelmed with some of the answers (the whispers, for example), but the history of the show proves that the mysteries were always secondary to the characters. It wasn’t that a man could suddenly walk again; it was that John Locke could walk again. Few of us had posters of the Island or the Statue of Taweret hanging on our walls; fans had pictures of Sawyer, Kate, and the large cast photos, because what made those mysteries so compelling was the characters behind them. Most of the following shows that attempted to be Lost failed because they put mysteries at the forefront. Lost and “The End” kept the focus on the characters.
In fact, one of my biggest complaints about the Lost finale is the lack of recognition the Island itself actually gets. Would it have been too much to ask for Sawyer to look back at the Island on his way to the plane and give us one last full wide shot of the location we spent six years in? Or a solid look at it when he looks out the window as they are flying away?
And yet, I’d much rather the Island get shafted than Sawyer himself. Instead, the focus is on Sawyer getting to that plane and finally leaving the Island. It’s on Kate saving Jack’s life at the last second. On Jack accepting his place in all the madness. And each action they take reflects who they have been and who they have become throughout the series. Jack, obsessed with fixing everything, is no longer a man of science and fixes the Island on faith. Kate, always running, retreats from the Island but refuses to run from the complications of her relationship with Claire and Aaron. Frank, who just wants to fly planes that don’t crash, flies his plane away.
Richard decides to live. Hurley decides to rule. Ben willingly accepts a place as a VP and stays behind to meddle out his sins. The Man in Black dies fighting to escape his prison. The survivors find each other in the afterlife because they found a way to live together on the Island, so now they don’t have to die alone.
Each character gets attention in “The End,” and despite having such a large breadth of characters to juggle, they all get an active role in the finale.
“Felina” doesn’t balance its much smaller cast nearly as well. The focus is heavily on Walt, as one would expect the focus to be, but what about the rest of the cast? Nearly every other character in the episode stays still and waits for Walt to do something to them, including Jesse.
Jesse has such a minimal, passive role in the finale that, frankly, he could have been killed off in “Ozymandias” and the ending, plot-wise, would have been exactly the same.
Walt was the clear protagonist of Breaking Bad, but Jesse was the heart. We felt for Jesse, rooted for Jesse, and cried for Jesse. It’s a much bigger mystery to me why Jesse wasn’t more prominent in “Felina” than why there was a magic cork plugging up magic on a magic island. It may have been satisfying to watch Jesse drive away screaming, free from the hell Mr. White dragged him into, but he had zero agency and didn’t relate to the final plotline at all.
I found it more satisfying watching Jesse team up with Hank to bring Walt to his knees a few episodes prior. Jesse took an active role by making a decision to turn on Walt. It felt as though he was growing and learning as a person, finally taking action against Walt and pushing his character to a new place. If Jesse could have freed himself from Walt’s world through his own actions, instead of Walt deciding, “Now you can go,” it would have fit better with Jesse’s arc over the course of the series and brought his character to an even more thrilling conclusion.
Is it in character for Jesse to be excited to escape? Obviously. Were the circumstances of his release as powerful as they could have been? No.
“The End” took its protagonist, as well as all the other main characters, and allowed them each to make decisions based on all they had learned to accomplish or fail their goals. Each major character had an active role in the final outcome of the story. “Felina” pushed its protagonist to the forefront and made the beating heart of the show a side player.
Lost and Breaking Bad were both shows with themes and ideas they explored. Each was consistent in the exploration of their themes, maintaining thematic consistency all the way through their respective series. From the beginning of Lost, even before it was outright stated, we saw that these people were going to need to work together, to live together, or die alone. Breaking Bad explored the idea of chain reactions and consequences from its first episode forward.
One of the most important aspects a finale has to nail is a reinforcement of the themes of the show. This is what this show is about, and it’s time to make a final statement, or, at least, raise a final relevant question to the themes that have been prominent throughout the show.
Most often these themes will be displayed or questioned through the characters and their actions. All of the actions by the characters in “The End” aren’t just true to the characters themselves but to the themes of redemption, loss, and faith running throughout the entire series. They reinforce an ethos – “Live together, die alone.”
Say what you will about the flash-sideways afterlife concept (I didn’t like it), but it is a true reflection of the idea that because the survivors learned to live together they didn’t die alone. It may be a bit too spiritual for some and lack the weight of the on-island story, but it provides an adequate vehicle to reinforce the idea that the survivors needed each other and that they became a family. They helped each other grow and move on in life, and therefore they move on together in the afterlife.
The finale also circles back to other prescient themes, such as Man of Science VS Man of Faith. Jack puts his faith in the Island, Jacob, and John Locke. No, we never learn for certain what would have happened if the Man in Black left the Island, but neither does Jack. If we did know, then Jack wouldn’t be acting on faith. In the flash-sideways, Jack gets his memories back from his father – appropriate considering how heavily fathers figured into the series.
“Felina” gives Walt the perfect conclusion to his saga. It’s riveting to watch him enact revenge on everyone who screwed him over, and even more satisfying to watch him admit to Skylar that he did it all for himself.
But this particular brand of satisfaction comes at a cost. His actions did not reinforce the themes the series presented us with. Was taking revenge in character for Walt? Absolutely. He was always a petty, egotistical man. But allowing this type of revenge goes against the ethos of Breaking Bad as a series. Breaking Bad never allowed for easy decisions and always forced major consequences against its characters with each decision they made. There was always a follow through, a reckoning. “Ozymandias” is a perfect example of everything the show was about coming together – the consequences to one man’s actions for illicit power created a chain reaction that finally caught up with him, destroying everything in his life. Being a badass drug dealer has its price. It isn’t glorious and it isn’t fist-pumping awesome.
If the show would have ended right there, that would have been a stronger conclusion to the saga because what follows goes against all this. “Felina” gives Walt the happiest ending he could have. He gets to “redeem” himself, in a sense, by getting the money to his son, explaining himself to his wife, and saving Jesse. Then, due to his death, he doesn’t need to live with or experience any of the consequences of these actions.
Perhaps some would argue that Walt himself is the reckoning and that all these people are getting what is coming to them based on their actions. But giving Walt this level of control and power goes against the themes of power from the previous five seasons. It also allows him to go out with pride, something that by all intents of the rest of the series was his downfall.
Even if we overlook the circumstances above, Walt’s means of revenge goes against the themes of the show as well. Breaking Bad’s pilot has a scene where Walt teaches his class about chemistry. He says that everything has a reaction, providing the first basis of chemistry themes in the series. Through the journey, we witness Walt use his chemical knowledge to outsmart drug dealers, create poisons, and (obviously) cook meth. And yet in “Felina” Walt takes down Jack’s drug crew through an impressive feat of mechanical engineering. Why not have him enact revenge on the group with an impressive feat of chemical engineering? This would reinforce the idea that all actions have a reaction, and give us a final look at one of the major themes presented in the show.
“The End” reinforces the major themes of Lost through the actions of its characters and the environment they find themselves in (even if that environment is a bit weak). “Felina” trades its thematic relevance for a revenge plot that, while satisfying, does little to further the themes of the series.
Reflection is important at the end of any story. It is always of benefit to remind viewers just how far the characters have come and remind them of how much has changed and how much has remained the same. This gives an ending a feeling of completeness and allows viewers an opportunity to say “good-bye.”
“The End” has several callbacks and lines to earlier moments in the series. The shot of Jack and Locke looking down the hatch is recreated. Famous lines such as “I’ll see ya in another life, brother” are spoken (and also another great relation to the thematic resonance of “live together die alone”).
The most obvious callbacks are the “reawakening” memories of so many of the characters. While they advance the story in regards to the survivors “waking up” in the sideways universe, I don’t feel they are quite as effective as the rest of the homages paid to the series in real time. They have a scent of clip reel, which is a cheap way to drum up nostalgia. I find it much more effective when Jack dies in the same place he woke up on the Island.
“The End” also misses an opportunity to allow us to reflect on the Island itself. We don’t have a chance to take in the full scope of the Island one last time, and it doesn’t use its environment as well as it could to reflect.
“Felina,” on the other hand, excels at these callbacks, even if I don’t feel the plot itself is up to the task. Skinny Pete and Badger have a fantastic cameo in the finale, allowing us one last look at the goofy duo. We finally get to see where the ricin ends up, which ties up a seasons long thread. Walt gets to say his goodbyes, allowing the audience to say goodbye with him.
A flashback memory plays within the episode in a similar fashion to how “The End” uses memories. Again, it feels a bit cheap, but Walt standing in his abandoned, vandalized home is an amazing visual representation of how far he has fallen.
I don’t feel there is any more effective callback than Walt’s emotional look at the meth lab. All that we need to understand about his view of himself is written on his face, and we get a long look at the environment Walt’s journey took place in. As I stated earlier, “The End” doesn’t afford us a chance to say goodbye to the Island properly, but “Felina” nails this aspect.
And then Walt dies, and the series uses its last shot to pay homage to another finale.
Neither finale is perfect. Your mileage will vary based on what is most important to you, and there are more aspects that go into an effective finale than the three that I highlighted above.
“Felina” is a fine finale. Damon Lindelof thought it was great. I think it is fair to say most viewers found it satisfying. “Felina” learned from “The End,” understood that viewers felt mislead, cheated, and like there were too many loose ends floating around, and adapted. Breaking Bad left no stone unturned and finally gave in to the power fantasy it had been avoiding before, leaving many viewers with a feeling of triumph that Walt proved you don’t mess with Heisenberg.
That wasn’t what Breaking Bad was about, though. It wasn’t a tale about learning not to mess with Heisenberg, and that’s why I don’t feel its finale truly lives up to what preceded it. One of its lead characters is rendered ineffective and the themes of the show don’t shine very brightly (if at all). There are some great callbacks and scenes of reflection providing us a good opportunity to say goodbye, but ideally that would be within a plot that reinforces those first two areas (character and themes). I don’t believe that “Felina” does this.
As a single piece of media and as a singular episode, I would probably agree that “Felina” is a stronger piece of work. It’s exciting, clean, and effective in its simplicity. But as the end to a series it doesn’t reflect the show it represents.
“The End” on the other hand, pushes its characters and themes to the forefront. “Felina” may be more satisfying than mystifying, but “The End” effectively wraps up its story in a way that is true to the characters and themes of the series. On that level, satisfaction be damned, it makes for a better cap to its respective show, wrapping itself in everything that made Lost Lost, which is why I believe “The End” > “Felina.”
Even though the flash-sideways was kinda lame.
21 Underrated TV Shows You Need to Watch
Not every show can be the next Grey’s Anatomy or Game of Thrones, both of which have amassed a cult following of well over 8 million fans and followers on Instagram. There are so many other shows that are worth a watch, so here’s our list of 22 underrated TV shows that you need to check out.
Don’t forget to comment below which shows you agree are underrated or any titles you feel should be on this list!
1. Love (Netflix)
Produced by Judd Apatow, Love has a similar indie feel to his other work Knocked Up. Mickey and Gus, an unlikely pair, meet in a chance encounter at a convenience store. Mickey is wild and rash, while Gus is a quirky goodie two shoes. Defying the cheesy stereotypes of a romantic comedy, Love stories their surprising bond as they grow together and learn the complexities of love.
2. Shrill (Hulu)
Starring SNL comedian Aidy Bryant, Shrill stories the trials and tribulations of a plus-sized writer who uses her insecurities to grow her career. Along the way, she learns lessons in self-love and friendship all with a healthy dose of humor.
3. The Haunting of Bly Manor (Netflix)
The second mini-series in the Netflix anthology by Mike Flanigan, The Haunting of Bly Manor is set against the backdrop of a horror show. However, it’s not so much a ghost story as it is a love story. And a sad one at that. Once you get through the few jump scares, you’ll look back teary-eyed and appreciate its beautiful reimagination of memory loss.
4. Please Like Me (Hulu)
Please Like Me is an Australian comedy, coming-of-age story about twentysomething Josh. After his big gay awakening, he’s just trying to figure out life. Amid his recent move home after his mom’s attempt at suicide, moving out again, and dealing with big life changes, he doesn’t always handle things perfectly. But he faces tough events and forges his own peculiar path.
5. Dollface (Hulu)
Mixed in with a few fantastical elements, Dollface shares the truth and importance behind female friendships. After getting dumped by her boyfriend, Jules realizes she had been neglecting her friendships, so she now has to work to rebuild them. Starring some big names like Shay Mitchell and Brenda Song, this is the perfect light-hearted comedy for your nights in.
6. Behind Her Eyes (Netflix)
A single mother gets caught up in a dangerous game when she starts an affair with her boss and befriends his wife. Behind Her Eyes is a slow watch at first, but once you get to the end of the short six episodes, you’ll be shocked. This psychological thriller is vaguely reminiscent of Jordan Peel’s film Us, so get ready for some twists and turns.
7. Dark (Netflix)
You’ll need to watch this one with subtitles unless your fluency in German is up to par, but I guarantee it’s worth it. Dark is a mind-twisting puzzle about a small German town. Following the disappearance of two children, the town’s underbelly is exposed and nobody is who they think. Full of time travel, you’ll need to make sure you have a pen and paper to keep up, otherwise, you’re sure to get lost.
8. Made For Love (HBO Max)
If you like Black Mirror and the scary concept of technology, you’re sure to love HBO Max’s recent release, Made For Love. While in a toxic marriage with a tech billionaire, a woman is implanted with a chip that monitors her every move and emotion. She finally escapes and is on the run looking to regain her independence.
9. Insecure (HBO Max)
Perhaps one of the more well-known titles on this list, Insecure stars Issa Rae in this comedic yet realistic series about two friends Issa and Molly. Set in LA, the show depicts their flaws and insecurities as they make it through daily life in a city full of exclusive parties and status. It’s also an important watch for the social and racial issues it touches on.
10. Workin’ Moms (Netflix)
Think parenting is hard? It is. Workin’ Moms is a Canadian comedy all about a group of new mothers and their struggles balancing it all. Through mistakes and hiccups, they learn that while being a mom isn’t easy, it’s certainly rewarding. Even if you’re not a mom, you’re sure to get in a few good laughs.
11. Feel Good (Netflix)
In this semi-autobiographical portrayal of comedian Mae Martin’s life, Feel Good centers around the main character Mae as she grapples with her sobriety and a new girlfriend. Whether or not she’s simply replacing her drug addiction with love, she’ll have to find ways to heal and cope if she has any hopes for her relationship’s longevity.
12. Kim’s Convenience (Netflix)
The lack of Asian representation on TV is horrendous, but Kim’s Convenience is one small step closer to bridging that gap. The show follows a Korean family in Canada who owns a convenience store, and the cultural and generational gap between the immigrant parents and their two children. Although at times, it falls it into common stereotypes, the show is still fun and goofy and you’re sure to fall in love with all the characters.
13. Mindhunter (Netflix)
If you like psychology and have ever been curious about the psyche of the most infamous serial killers, Mindhunter is the show for you. Sort of like Criminal Minds, the ensemble led by Jonathan Groff, researches and studies the minds of Ted Bundy, Charles Manson, David Berkowitz, and many others to really learn what makes a murderer. In its neo-noir filming, the show is really like a mini-movie series.
14. Looking for Alaska (Hulu)
Based on the popular book by John Greene, Looking for Alaska is a sweet story about a boy named Miles, the new kid, at a boarding school. He immediately gains a loyal group of friends and falls in love with the mysterious girl Alaska. When tragedy strikes, the group looks for solace as they try and make sense of the loss they have experienced.
15. Little Fires Everywhere (Hulu)
Reese Witherspoon and Kerry Washington are the two big leads of the adaptation of Celeste Ng’s novel of the same name, Little Fires Everywhere. Two mothers who lead very different lives seem to have a colliding fate. With varying access to resources, each mother makes a different decision that affects their family forever.
16. Zoey’s Extraordinary Playlist (Hulu)
A musical show featuring the beautiful vocals of Skylar Astin, Alex Newall, and Peter Gallagher, just to name a few, Zoey’s Extraordinary Playlist is about the unusual powers Zoey yields after an MRI. Zoey is suddenly in tune with the inner songs of her coworkers, family, and friends and has to learn how to use her powers to help those in need.
17. Mixed-ish (Hulu)
Following its successful predecessor black-ish, Mixed-ish is all about Rainbow Johnson’s experience growing up in a mixed-race household. Narrated by Tracee Ellis Ross, each episode takes a comedic approach to educate and highlight the specific challenges of being Black and mixed-race in America.
18. Love, Victor (Hulu)
Love, Victor is about Victor, a closeted teenage boy who is struggling with his sexuality in his traditional Latino family. Set in the same world as the innovative movie Love, Simon, Victor uses Simon’s success story to guide his own truth.
19. Dead to Me (Netflix)
When Jen’s husband dies in a tragic hit-and-run, she looks to a support group for healing. There she befriends Judy, who has a horrible secret that could wreck their friendship forever. Dead to Me is a dark comedy starring Christina Applegate who delivers an outstanding performance alongside Linda Cardellini.
20. Sweet Tooth (Netflix)
Filmed like an intricate movie, Sweet Tooth is a cross between fantasy and sci-fi. As the world is rocked by a health epidemic and a mutation that produces half-humans and half-animals, Gus is on a journey to find safety and a fresh start.
21. Firefly Lane (Netflix)
Two childhood best friends are working on navigating their friendship through adulthood in Netflix’s original series Firefly Lane. Tully and Kate have gone through the wringer together, but their friendship has always survived, until something major ends it completely.
Manifest: 11 Questions We Need Answered
When NBC canceled Manifest, audiences rebelled. And rightfully so.
A cancelation meant that after years and time invested in the series, we’ll never find out what happened to Flight 828, which is unacceptable.
Manifest has one of the most dedicated and loyal fandoms. After every episode, fans took to Reddit and various forums in hopes of figuring out TV’s biggest mystery.
And that was even more true after the Manifest Season 3 finale as it left audiences hanging with several major cliffhangers!
This tweet below sums up my feelings in the most accurate way — apologies for the profanity.
fuck a break up, did your fav show end up with a cliffhanger at the end of the season and then get cancelled
— sam (@eranaisperfect) May 22, 2021
The series was mapped out to span six seasons, so naturally, ending it after season 3 leaves us with plenty of unanswered questions.
Showrunner Jeff Rake has been very active and vocal on Twitter as he encourages fans to keep the faith and remain optimistic.
He’s determined to give fans a proper ending — the ending we deserve.
“We’re trying to find a way to conclude the series. Could take a week, a month, a year. But we’re not giving up. You deserve an end to the story. Keep the conversation alive. If it works out, it’s because of YOU,” he tweeted to Manifesters from all over the world.
Fingers-crossed that NBC greenlights a finale movie, Hulu makes an offer for additional seasons, or Netflix reconsiders their decision and renews the show (after all, it’s still trending in the #1 spot weeks after its debut on the streamer!)
Here are the most pressing questions that need to be resolved!
1. What Happened to Flight 828
I mean… duh. The disappearance of Flight 828 and its return five years later is the overarching mystery. The plane mysteriously vanished leaving Jamaica to New York and landed five-and-a-half years later after all the passengers were presumed dead. Where did they go? Why didn’t any time pass in their reality? I can’t go on not knowing what happened to the plane or what caused it. If I don’t get an answer, it’s going to haunt me for the rest of my life.
2. What Are The Callings?
The Callings are warnings or puzzles that need to be solved, but what triggers them? Why doesn’t everyone get the Callings? What is their purpose? Are the passengers supposed to follow the Callings to become better people or find redemption?
One Redditor went to extreme lengths to figure it all out and suggested that the Callings were a result of a shared consciousness. In his Reddit essay (which is a well thought out 46 pages), he suggests: “And the visions, sounds and feelings the characters are having are a metaphysical collateral damage from sharing the same mind? The Callings are scattered impressions and manifestations from memories of the lives of everyone affected, off the responsibility of adapting to chronological order.”
It sounds like the most reasonable explanation I’ve heard, but it’s so complex that I’d really just rather see it pan out on screen in order to get some closure.
3. Why Is Cal an Adult?
In the last few episodes of season 3, Cal tells Grace that he’ll see her again and disappears within the walls of Eureka. The Stone’s + Saanvi get a joint Calling where they see Cal back on Flight 828. He informs them that he won’t be coming back just yet. We then see him standing over Grace as she’s taking her last breaths, but this time, he’s no longer a child. Cal appears as an adult… but why? Is this Cal from the future? Is this Cal if he never disappeared on Flight 828?
4. What Does He Have To Do?
Cal tells his dying mother that “he knows what he has to do now,” which is truly vague. What does he have to do? Does he want to go back in time and prevent the flight from ever taking off? Is that what happened to him? Can he somehow undo all the damage that’s been done?
5. Did He Survive His Death Date?
Cal is presumably his normal age now (the age he would’ve been if Flight 828 never disappeared), so if he traveled back in time, it likely means that he beat the Death Date. Does that mean everyone else in the Lifeboat also survived? Or did wherever he go preserve him? Could this be a Cal from a different reality? Or is this a hallucination? So many questions.
6. Is Grace Alive?
The general rule on television is that if you don’t see a body, you shouldn’t write that character out. And that’s especially true for a series that centers around a group of resurrected people who were once presumed dead. What if Grace returns with her own Death Date just like the passengers, meth heads, and Zeke did?
Also, Cal didn’t seem to be too worried about saving his mother, so maybe he knows that in the future she survives? Or that she wasn’t going to die? Or maybe he’s the one that stabbed her because he knew it had to be done! I mean, why else was he there and how did he get in? Or was he a hallucination?
7. What Does Angelina Want With Baby Eden?
For starters, Angelina stabbed (we think), stole, and baptized baby Eden. It’s unclear what she plans to do with her, but the fact that she thinks this child is her guardian angel is concerning. She’s gone to great lengths — and done some unforgivable things, which will likely sink the Life Boat — in order to be with that baby. But why? Why is Angelina drawn to the child? Why is she under the impression that she’s following God’s will?
What is Baby Eden’s purpose? I’m convinced she’s playing some kind of role in saving Earth from the apocalypse as she’s a child of the returned.
Some have hypothesized that Eden is evil, while others believe there’s an alternate timeline where Angelina is Eden’s mother. I honestly don’t know what to believe, but I’d love a chance to find out.
8. Where Did Captain Daly Go? And the Plane?
Captain Daly was clued into dark lightning and electrical storms way before Ben and Saanvi, which is why the government tried to get rid of him. He was so desperate to make his point that he kidnapped Fiona and flew them directly into an electrical storm. Ben didn’t believe him at first, but when they disappeared from the radar, it either meant that the rogue plane had been neutralized (though there were no signs of debris, explosion, or anything) or that maybe Daly was onto something.
While we first expected to see Daly in 2024 (the Death Date), in the final moments of the third season, Daly reappeared in the cockpit of the salvaged 828 in Eureka. His return was likely triggered by another electrical storm. Unfortunately, he was only back for a few seconds to yell “help me” before vanishing with the whole reconstructed plane.
It’s important to note that he was once again in the cockpit and wearing his uniform, which isn’t what he had on when he vanished with Fiona. Was this a different Captain Daly… possibly the one from the original flight?
Why did he need help? Why did the plane vanish with him? And where did he go again?
9. Where Was Fiona?
Most importantly… where was Fiona? Why didn’t she return with him? Did they make it to 2024 to help the passengers beat the Death Date? Is her expertise in neural psychology how they’re all getting these Callings?
When asked about where Fiona and Daly have been for the year and a half, Rake told TV Insider: “Captain Daly has been exactly where Cal was from the end of Episode 312 when he disappears to when he returns right there at the very end of the season finale. What that place is I’m gonna let Cal speak to that when we come back in Season 4. I’m going to let Ben chew on that and use that information to try to navigate where to go forward.”
10. Zeke or Jared?
Jared’s in love with Mic — he always has been and he always will be. He’s finally coming to terms with that, and while telling Mic that he thought “Zeke would be dead” was rude, he was simply caught up in the moment.
Zeke is an empath who has developed an intuition that allows him to feel the emotions of others, so he knows with certainty that Mic is conflicted. When he tells her that they have to “talk” in the finale, it seems like he might be taking a step back in order to allow Mic to figure out what her heart truly wants.
Mic has had a hard time letting go of the past and living in the present, and with the Death Date looming large, she’s going to have to get really honest about what she really wants out of the time she has left.
The audience also wants to know her decision. Will she stay married to Zeke? Will she return to Jared? This love triangle needs to be resolved!
11. What’s With The Major’s Daughter?
There has to be more than meets the eye when it comes to Sarah. I don’t believe that her relationship with Jared was innocent.
As Mic pointed out, he could’ve dated anyone, and yet, Sarah made her move on him almost immediately after he told her his mom was dead. She also seemed way too chill to find out the truth about her mom!
Is she going to come after Saanvi after seeing the tapes in her mother’s box? Did her mother put her up to this? I can’t be the only one who thinks that The Major is still alive and gearing up for a comeback. Maybe she’s the person above Vance that’s pulling all the strings! Or maybe she has a death date of her own!
There are definitely more than 11 questions within this post, so the point is, we need answers, and we’re not going to stop looking for them!
What are your thoughts? Read all our reviews right here!
11 Best Board Games Inspired by TV Shows That You Need to Play
We may no longer be stuck in quarantine, but one of my favorite pastimes from the pandemic has stayed with me.
I’ll be the first to say it — adults don’t play enough games!
I forgot how fun games from my childhood like Monopoly or Life were! And they’re even better with a pop culture twist.
Some of your favorite board games have gotten a makeover from your favorite TV shows.
Since the pandemic, I found myself collecting these TV-inspired board games.
Here are the ones I suggest you add to your game collection:
The classic Clue game gets a witchy twist. In the “whodunit” game, based on the Netflix series, players must figure out who is responsible for murdering Aunt Hilda! The gameboard is themed with locations including Baxter High, the Greendale Mines, and the Spellman Mortuary. The game is suitable for ages 14 and up.
If you’re not a fan of the dark arts, you can try the Bob’s Burgers-themed board game instead. In this one, you’ll try to guess who killed “Ned Buddy” while navigating iconic elements from the animated series. The game is suitable for ages 8 and up
Invest in houses in Riverdale as your favorite CW show character. The game features favorite Riverdale locations including Sunnyside Trailer Park, Sweetwater River, and The Pembrooke. Will you find yourself as rich as Veronica Lodge? Or will you end up the town villain in jail? The game is suitable for ages 8 and up.
This game comes with a bit of nostalgia as you channel your inner slayer! Buffy, the Chosen One, needs help purging Sunnydale of all supernatural. As you roll the dice, you help get rid of monsters. The characters are fully integrated into the game, just make sure you read and understand all the rules first before beginning play! The game is suitable for ages 12 and up.
Think you have what it takes to make it as a stand-up coming in 1950s New York? The game, inspired by the Amazon series, asks players to find their calling and choose a path or fame and fortune. But will they make it in the Big Apple or find themselves scraping by? The game is suitable for ages 14 and up.
Did someone hear that thudding sound? I think it’s the game calling to use. Jumanji isn’t a TV show, but I feel like everyone should have this iconic game in their arsenal. The game rules warn: “Play the game that pursues you! Do not begin unless you intend to finish.” The game is suitable for ages 8 and up.
Transport yourself to the land of Westeros! The strategy board game wants you to become the new Lord Commander by building, defending, and rising above your brothers. Just be careful because winter is coming. The best part is that you’ll never play the same game twice as it teases limitless replayability.
Do you consider yourself a huge Friends fan? Put your skills to the test in this fast-paced game that includes wacky challenges and tough questions. “ Play like Ross and Chandler and try to not be bamboozled,” the description warns. The game is suitable for ages 12 and up.
The game features some iconic Friends television moments. And you’ll get a kick out of the game pieces which include a handbag, a dinosaur, a sweater vest, a pizza, a chef’s hat, or an acoustic guitar. Spaces include Relaxi Taxi, All the Candy, Ross’ Teeth, and Holiday Armadillo! The game is suitable for ages 8 and up.
The board game allows you to enter the world of AMC’s The Walking Dead. Players live through a zombie apocalypse where those who have died come back to hunt down survivors, the players, who are doing their best to find refuge and defend themselves.
Are you ready to embark on a journey to the Upside Down? The game is inspired by the first 3 seasons of the Netflix original series. Fans try to outbid each other for properties in Hawkins, but instead of houses and hotels, you’re buying up Forts and Hideouts (like in Dungeons and Dragons!). The game is suitable for ages 14 and up.
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