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Lost Discussion 10 Years Post-Finale: What Worked, What Didn’t, and What Should’ve

Lost/ABC - Photo by Mario Perez

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Lost finished airing 10 years ago on May 23, 2010. Join Jillian Pugliese and Tommy Czerpak as they take a look back at the groundbreaking series that helped usher in the golden age of television, and discuss why we love it (and what we think it did wrong).

Tommy:  Hi Jillian, fellow Lost lover. Thanks for joining me for this discussion. Can you believe the finale aired 10 years ago already? Did you watch it live?

Jillian: Nope, I’m a latecomer. I was only eleven when the show finished airing, and I don’t think anyone that age would’ve been able to keep up with it. I watched the series for the first time about three or four years ago and fell in love. It’s an insane show, but it’s incredibly addicting. I binged the series in a couple of weeks, and have rewatched it several times since. What about you? Were you always a fan?

Tommy: I was! I watched during its initial run. It was an incredible time to be a fan because internet discussion had just started to take off but streaming and DVR hadn’t, so while we had places to go online and discuss (may the imdb Lost message board rest in peace), everyone still tuned in at the same time every week. Each airing was an event we all watched together, which really promoted discussion. Television hype is so wildly different now. Not everyone watches everything at the same time with streaming and DVR, and I wonder how Lost is received by someone who was able to take advantage of the more recent methods of media consumption.

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Lost/ABC

So I’m curious, since you watched Lost right in the middle of the golden age of television that it helped launch – How did you decide to watch Lost amongst all the other great shows nowadays?

Jillian: I started watching Lost mainly because everyone always said it was too hard to keep up with. The legacy of the series isn’t its innovative forms of storytelling or usage of symbolism. It’s remembered for being the show that no one could follow. I took that as a challenge. So, I started to watch it on Netflix (sadly it’s been taken off since) and got lost in the world of Oceanic Airlines and The Dharma Initiative.

Lost can be quite convoluted at times, and there’s definitely plot holes within it, but because of how I watched the series I was never lost following it. I’d imagine if I had to wait months in between seasons I would’ve been much more confused. But getting to watch season four right after the big twist of the season three finale kept me invested. If Lost came out on a streaming service I think people would’ve stuck with it for longer. 

Waiting for episodes to come out would’ve been particularly frustrating when it comes to filler episodes that did nothing to move the plot along (think Nikki and Paulo). But instead, I was able to power through until I reached a compelling storyline that I cared about. 

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For 2004, the pilot of Lost still holds up really well. You can sense that it’s from the early 2000s based on how the characters speak to each other, but it’s not so dated it’s unwatchable for future generations. I don’t think some of the plotlines would fly nowadays, especially in regards to the way the show treats women at times, but it still manages to be an example of what a great television show can look like.

How do you think Lost holds up ten years later? Was it ahead of its time?

Tommy: I rewatched much of the series last year; parts of it hold up incredibly well, parts of it don’t. When Lost is at its best, it’s still unlike anything on television, even today. I think the pilot in particular is a masterpiece that has yet to be matched. It balances its large cast incredibly well, giving each main member a moment or two to develop while keeping the focus on Jack. It makes clear that the island and its mysteries are merely a gateway to explore the characters through, as each scene throughout the pilot provides some character revelation, whether it’s the kindness of Hurley passing out meals or Kate finding courage during their first encounter with the monster.

It’s a perfect mix of mystery for both the island and the characters, and has shockingly little exposition for a pilot. Most pilot episodes require the viewer to play a bit of catch-up, as they have to be introduced to the world the characters are inhabiting, but Lost has its characters getting introduced to the island along with the audience. Overall, I think it’s a phenomenal piece of work.

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Lost/ABC – Photo by Mario Perez

Ahead of its time, though? I don’t believe it was. I think Lost was an exact product of its time and naturally pushed network television forward. The medium had to evolve eventually, and Lost expanded the scope of character work and mythology that a network series could provide. With the rise of the internet and DVR, fans wanted to pause their favorite shows to look for clues and share them online. I think audiences were ready for something new and more serialized – something grander, and Lost filled that need. 

As for its story, it’s a series about redemption, loss, and human connection; age old themes that have existed for as long as storytelling. It’s a (mostly) well told story that has influenced dozens of series with its methods and brand of storytelling since, but I wouldn’t necessarily classify it as ahead of its time.

For what doesn’t hold up? You nailed it – Lost has a problem with its women. I think Kate is at her best in the pilot and the finale, but in between she’s stuck in love-triangle hell with very little narrative agency. Even Juliet, my favorite female character on the show, gets shafted by the love-triangle juice.

Jillian: My biggest issue with Lost is how they handle Kate’s character. She had so much potential in the early seasons, and the episodes that focused on her backstory were some of the best of the show. But then she started to be written as just a pawn between Jack and Sawyer when they’re struggling for power. There’s some genuinely sweet moments between her and each of the men, but I would gladly scrap any sense of romance from the show to get back the character Kate was supposed to be. 

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Lost/ABC

As for Juliet, they did her character a great disservice by involving her in the love-square mess in the later seasons. I did really like her with Sawyer, but her final moments on the show surrounded him and specifically her jealousy of his relationship with Kate. She deserved better than that.

I’ve always found it interesting that originally Jack was going to die in the pilot. Kate was the one who was supposed to lead the group. Imagine how different the show would’ve been. 

But for better or worse, we’re stuck with Jack as our lead. I’ve never been his biggest fan. He became more self-righteous as the show progressed, which made him difficult to watch. What’s your opinion on Jack? 

Tommy: I’ve heard a lot of Jack criticism over the last sixteen years, particularly in regards to self-righteousness, and I have to admit that I’ve never agreed with it. I definitely think Jack has some flaws in how he was written, particularly in some of his later flashbacks (such as when he stalks his ex-wife and the obvious, tattoo propelled tragedy of “Stranger in a Strange Land”). His actions in those flashbacks are not pleasant and do him no favors with audience perception.

On island, though, I think Jack is a great character in most instances where the series itself isn’t floundering (such as the love-triangle shenanigans we discussed above). Lost is a textbook example of how to force characters into situations that challenge the specificity of each character: Kate has no where she can run on an island, Sawyer struggles to integrate with the rest of the survivors and overcome his self-imposed loner attitude, Jin and Sun are forced to address their failing marriage, etc.

Jack’s challenge is the strongest, however, because while the other characters’ flaws are challenged, Jack’s flaws are challenged along with his entire worldview. As a surgeon, his approach to almost every problem is through reason and science, and the island throws both of those approaches out the window, essentially giving Jack a crisis of faith (even though that faith is science).

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Lost/ABC

Jack is stuck in his beliefs because to accept that he is wrong is to accept that the island is more than “just an island.” I don’t see that as self-righteousness so much as I see it as fear. He doesn’t think he’s right, he’s living in denial, and I think that’s an important distinction. There are few stronger character moments in the series than Jack immediately denying that the island disappeared moments after he watches the island disappear.

I think this denial most clearly manifests in his desperate need to be involved in saving everyone; he personally has to be the one to hunt down Charlie and Claire, to find Michael – to be the man who gets everyone off the island. I never viewed this as a self-centric “I am the messiah” attitude, I viewed this as the desperate attempts of a man to regain some control over a situation that he doesn’t understand.

If anyone on this show is self-righteous, I think it’s John Locke. That dude sabotaged equipment, blew up the hatch and the submarine, and threw a knife in a woman’s back all because he was right and everyone else was wrong. Asides from trying to control Kate’s actions half the time (which contributes to the major problem in how the show treats its women) I don’t recall Jack ever forcing his worldview on the rest of the survivors – he doesn’t force anyone to leave the beach, he doesn’t actively stop them from pushing the button – so long as their actions don’t threaten the safety of the group.

I think that most people accept Locke’s actions and attitude because he is obviously right about the island, which also hurts the perception of Jack. The audience understands that there is something special about the island, so it’s annoying to see Jack deny it and exciting to see Locke thrive on it. (To be clear, John Locke is an amazing character and truly one of television’s greats).

Of course, Jack has a massive shift in attitude in the last two seasons when he becomes a man of faith and accepts the island for what it is, finally shifting his worldview and providing the show with a strong series arc and statement, which I believe proves his value as the protagonist.

Jillian: I started another rewatch of the show recently, and my goal was to go into it and give Jack a second chance. Sometimes you dislike the main character just because they’re the main character. I wondered if that was the case with him.

But as I got further into the show I was reminded of why Jack rubbed me the wrong way. He was presented to us as our hero, the selfless doctor who’s going to save everyone. That character would’ve been dull, but at least it’s someone you can root for. Instead, as the show went on, Jack went from the archetypal good guy to a man who desperately needed to be in control of everything and everyone.

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Lost/ABC

He had a terrible savior complex that made him unlikeable. He’s not the worst character by any means, but he’s easy to hate. Especially when he’s with Kate. 

I’ll never understand the hype around that couple, when Jack consistently acted like Kate was a project he needed to fix. I know Kate’s widely hated, and as we spoke of before she didn’t really get the chance to reach her potential before being reverted to a plot device, but my main gripe with Jack was how he treated her. He was dismissive of other characters at times (Hurley and Locke especially) but his desire to “save” Kate from herself was nothing if not presumptuous. 

All the characters on Lost are deeply flawed individuals, which is what made the show so interesting. But, characters like Sayid and Sawyer who acknowledged their faults were far more compelling than Jack, who was in denial about not only the island, but himself.

My favorite character has always been Sawyer. He’s a fan-favorite for a reason. He has great character development throughout the series and provides much needed comic relief. 

But I would argue the best character on the show is none other than Ben Linus. He’s the original antihero. He’s introduced as an antagonist and pretty much remains one throughout the show (I’ll never forgive him for killing Locke), but he’s so entertaining to watch. Michael Emerson’s charismatic performance is captivating, and makes him well-deserved of the role of TV’s best villain of all time.

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Tommy: Ben is an incredible villain, and he invigorated Lost in ways no other character could due to the focus he provides for the series. He’s attached to so many of the sprawling plotlines, even if just tangentially, that his existence ends up connecting a lot of loose threads. The Others, the island pregnancy issues, Jacob, the smoke monster/Man in Black, DHARMA – Ben has a direct connection or hand in all of these plotlines, which helps keep the series together, or at least to seem together.

Because Lost can be a mess. Plotlines are picked up and dropped haphazardly at times, some due to behind the scenes logistics and some due to just plain poor writing. At times I think the only two things that hold Lost together are the thematic resonance that’s fairly consistent throughout the series and Ben barely holding the plot threads in line.

The show was frustrating to watch live at points. Mr. Eko is a badass and my friends and I all had so many theories on how his character would shake out, then NOPE.

Done-zo.

So much of the second season feels irrelevant in retrospect due to so many of the tail section survivors biting the dust. I enjoyed the second season my first time through but the lack of legitimate development that comes out of most the new characters that season really hurts it on rewatch, despite episodes like “The Other 48 Days” holding up as single serving episodes.

How do you feel Lost did with its plotting?

Jillian: It depends on the season. Season one was perfectly paced, and set up the storylines for the rest of the show. But, you’re right, season two was pointless. Ana Lucia was built up to be such an important character who ended up having very little impact on the plot as a whole. 

And then the longer the show went on the more filler episodes they included. We didn’t need to know about Jack’s tattoos, or why Nikki and Paulo were on the flight. But mostly, I feel like the show did pretty well with embedding the different aspects of their story together. 

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Lost/ABC

It can be messy at times. Especially in season five. The time travel storyline on the island was somewhat hard to follow, but it ended up furthering the arcs of the individual characters successfully. 

How do you think Lost did with establishing themes throughout its run?

Tommy: Some shows thrive in connecting their storylines to themes subtlety, some are more overt. Lost is more overt, and for a series as grand as Lost is, I think that mostly works. The show establishes its main themes very early on, with the pilot introducing the idea of two sides, “one is light, one is dark,” and just a few episodes later Jack spouts out his “Live together die alone” speech, which may be the most prominent theme in the series. And of course by the end of Season 1 Jack and Locke have the open discussion of what it means to be a man of science vs a man of faith.

No matter how ridiculous or tangential Lost’s main plots become, the show holds together thematically throughout its run. I’m still blown away by how the writers were able to come up with such an effective physical manifestation of the man of science/man of faith philosophies with the button. It’s so on the nose, but it works because it forces Jack and Locke to explore their beliefs. It’s not just a thematic tie, but a challenge for the characters and a plot point to further the narrative.

The flashbacks are also an excellent structural choice because it helps highlight the themes of redemption and letting go, as we see who these characters used to be vs who they are on the island. By using the flashbacks to show us how characters acted in similar situations previously in their lives, we are given hard evidence as to whether or not these characters are growing.

Characters like Sayid continue to torture people, consistently making the some mistakes, while characters like Sawyer seem to sway between improvement and regression, as we see in his decision not to kill the boar in Season 1, but swift disposal of the annoying tree frog in Season 3.

The flash-forwards provided similar benefits in relation to themes, giving us a reflection of how the island changed the characters, but I’d argue that the flash-forwards were a little more dependent on twists and wild setups, such as Sayid working for Ben, than character development, as the skip in time hides what the character development actually is. I love the flash-forwards, and think they were a necessary change for the series that reinvigorated the show (Season 4 is my favorite season, after all, even if it contains my least favorite episode “The Other Woman”). They just don’t tie in to the themes of the show quite as nicely.

The flash-sideways, on the other hand, are almost too closely tied to the themes. I really believe that the final season and the finale of Lost would have been better received if the reveal that the sideways universe was a purgatory of the Losties happened much earlier in the season. Saving that reveal for the end twist may have kept audiences guessing, but it kept us from understanding the context in which these adventures were taking place.

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Lost/ABC Photo by Mario Perez

I enjoyed my re-watch of Season 6 so much more on the second go because I knew that these were really flash-forwards to the afterlife, and I had context as to why Jack was a believer and Locke a skeptic regarding Locke’s ability to walk again. Instead of wondering what happened in Jack’s other sideways life to make him so positive, I could reflect on Jack’s journey throughout the show. Desmond’s journey to reunite the survivors takes on a whole new flavor when you understand that he’s acting on the “live together die alone” philosophy the show spouted enough times to make Rose want to punch Jack in the face.

So while I think the adherence to the show’s themes hurt the flash-sideways in the series’ initial run because the audience lacked the context to understand it, I do believe they are a valid storytelling method and they hammer home the concepts of faith, togetherness, and redemption (Ben’s storyline in the afterlife is one of the best examples of redemption on the show). Personally, I’m not a huge fan of the concept, but I think it works.

Jillian: Lost definitely established itself as the benchmark series when it comes to utilizing flashbacks/flash-forwards to provide insight into their characters. I’ve always been a big fan of the flashbacks especially, because it helps you understand who these people are and how they got to the island. Sawyer wouldn’t be nearly as compelling of a character if we just heard about how he became the man he hated for ruining his life. Seeing him go through that made him much more sympathetic.

Likewise, seeing the heartbreak Locke experienced every time his father disappointed him was intrinsically important to the reception of his character. We can feel the desperation he felt in those moments, and his desire to matter to someone, or something, radiating from the flashbacks. We could never understand the depth of Locke’s devotion to his faith in the island without seeing where he developed that strong sense of faith from. 

When I watched the show I knew what the flash sideways was going into it, and that’s why I loved the final season so much. If I didn’t know, I’m sure I would’ve been more focused on figuring out what the hell is going on instead of appreciating the character details embedded within it. I loved how the series tied up, and I thought the finale was a great conclusion.

However, it left audiences divided. What’s your take on the finale? Did you like it?

Tommy: It’s so interesting to discover that you knew about the flash-sideways prior to watching Season 6. What else did you know of before watching the show? I know we are a small sample size but considering your love for the final season and my renewed interest in it upon re-watch, I wonder how many other people could have benefitted from knowing the deal beforehand.

I have a weird take on the finale, as I constantly find myself defending it despite not completely loving it. Part of this comes from what I said above – I think the flash-sideways emphasizes the themes and characters of the show nicely, but it’s not how I personally would have preferred they tell the story. My favorite part of Season 6 is the lack of information about the Man in Black and his effect on the world should he leave the island, as it truly defines Jack as a man of faith. To me, the fact that there is a definitive afterlife in the Lost universe sort of pulls that away, proving that faith is rewarded, which for me, hurts the theme.

In other ways, however, it strengthens the themes, which is why I find myself defending the finale despite my distaste for some of it. The Losties literally don’t die alone. That’s fairly beautiful, and we get to see characters like Ben make the right decisions in the afterlife because they grew as people in their actual lives. I can appreciate that, even if I don’t like it.

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Lost/ABC Photo by Mario Perez

Some aspects, though, I just don’t think work. Sayid reawakening because of Shannon? Really? The series depicts Nadia as Sayid’s strongest romantic connection by far, with his love for her spanning the time frames both before and after the island. I don’t want to deny Shannon’s importance for Sayid, but I think I’m just going to. Shannon’s loss was barely felt after her death, especially compared to characters like Alex or Charlie, whose deaths continued to motivate characters like Ben and Hurley long after their demise. Shannon’s death pissed Sayid off for a while, and then Sayid, from a story perspective, just moved on. None of Sayid’s choices or actions past Season 2 seemed to stem from Shannon in any way, so why is she the one he ends up with? 

The reawakenings also reek of clip show to me, which I’m never a fan of. I can understand some fans liking them because they provide a bit of nostalgia but I find them uninteresting for the most part. And the final scene of the church. . .it’s nice to see everyone so happy and together but it also feels a bit preachy to me just by the nature of taking place in a church, even if that church is purposely nondescript. It lasts too long as well, giving me plenty of time to ask where Mr. Eko is and wonder if Walt would be a kid or an adult if he showed up.

My absolute biggest gripe with the finale is its lack of closure for the island itself. I don’t mean answers, I actually think they tried to answer too many mysteries in the final season (the whispers and donkey wheel explanations were lame and I think should have been left unanswered. It’s a magic island for God’s sake. Magic things happen there. End of mystery). I mean the island doesn’t get a goodbye. It’s such an iconic piece of television history that to this day it only needs to be referred to as “the island” to be recognized, and there isn’t even a wide shot of the place in the final 104 minutes.

It irritates me every time I watch it. It makes me want to scream. I can’t understand what happened where the island doesn’t get this final shot. Several characters are flying away from it on a plane and it doesn’t lead to any full view shots of the place????? AUGH. Would this have been so hard???

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Lost/ABC

All the on island stuff, though, I think is pretty solid. I love the ridiculous cork in the center of the island. It makes no sense at all and I love that, because magic island and story about faith. It all works to drive the themes and story home.

Love Hurley taking over the island. Love the numerous callbacks that come about the narrative naturally. Love Christian’s speech to Jack, and love the final shot of Jack’s closing eye. It’s a beautiful wrap up to a story about life, death, and what it means to find faith in others, to let go of your past, and try to be better moving forward. I think the finale holds true to everything Lost as a television show is. Character driven, thematically over-rich, nonsensical, and grand.

I just personally wish it could have found a way to be all of those things without the flash-sideways, but I can’t fault it for not being what I would have preferred. Overall, I don’t think “The End” reaches the heights of Lost at its best, but I also don’t think it’s Lost at its worst. It’s just the end of Lost, and I’m happy with that.

What about you? Did you find any missteps in “The End” or did you love it front to back?

Jillian: Since I knew going into the show there was some type of afterlife aspect in the final season, I didn’t feel “The End” was too rushed in explanations because I understood where we were headed all along.

There’s definitely a level of cheesiness when it comes to the reawakening moments with the couples, but I still loved it. It was sweet to see the characters find each other again, and for all of them to finally find some version of peace. It’s nice when you’re rewatching the show to know that no matter who dies or what happens, they all end up in the same place at the end. 

While that could take away from the narrative impact of character deaths, it’s comforting as a fan. I like being able to watch the great “Not Penny’s Boat” moment and know that Charlie eventually finds his way back to Claire. The choice to have them all literally “die together” was a great way to drive home the central theme of the show, a sense of community. Of course there’s struggles with morality and faith that are more often discussed in analyses of the show, but what makes Lost so great is the relationships between the characters. 

It’s a character driven show, and over six seasons you can become easily attached to your favorite ones. So seeing almost all of them reaching the end of their journey together was very cathartic. 

I also really loved the full circle moment between the final shot of Jack dying and closing his eyes compared to him opening his eyes in the same place in the pilot. It felt like the writers had been planning that closing shot since the beginning. 

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Lost/ABC

I agree about Shannon and Sayid. It didn’t make much sense for them to end up together. All the other couples that had their reawakening moments were much more central to the show. Shannon was barely even in the show, and had very little impact on Sayid’s character arc. 

But otherwise, I think the finale was done really well. It wasn’t perfect, and I still don’t love how Claire was dealt with in the final season, but there’s nothing about it that I have resentment towards. Everyone ended up where they should’ve, and found closure together. 

Except for Ben. But I think it was a really smart choice for him to work to redeem himself further. It wouldn’t have felt right to have him in the church with the rest of the group. 

All in all, “The End” was the perfect end for me

What did the rest of you think about “The End?”Join us in our discussion and comment with your insights, critiques, commentary, and whether or not Jack is the worst!


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What to Watch in August 2020 Including ‘Lucifer,’ ‘Big Brother,’ and ‘Chemical Hearts’

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What to Watch and Stream August 2020

The coronavirus pandemic has impacted our lives in numerous ways including shutting down and postponing TV show and film productions, which has led to a content drought even with so many streaming services. 

Of course, if you’ve been putting together a list of TV shows that you’ve been wanting to binge for years, this is the time to do it and you absolutely won’t run out of content, but if you’re looking for new programming or new seasons of shows, you’ll likely feel like your options are a bit limited. 

As I was browsing for new shows to watch in the month of August, I figured I’d throw together a list of my findings to help you keep up with all the new offerings.

We have to help each other get through these tough times — we’re all in this together (go ahead, sing it!). 

Below, you’ll find some of the new shows, films and documentaries premiering this month! 

 

Big Brother – CBS (August 5)

There’s a lot of buzz around Season 22 of Big Brother. Coming off the heels of a pandemic delay, the long-running summer series is changing things up by announcing the cast live during the premiere as opposed to the traditional reveal of houseguests days in advance. It’s unclear who and how many houseguests will be living in the house, but it is the second all-stars edition, so be ready for some familiar faces! 

 

The Muppets – Disney Plus (July 31)

The old gang of fuzzy friends is back together again! Muppets Now is described as an “unscripted series featuring three different segments of a game show, a cooking show, and a talk show.” It premiered on July 31 with new episodes debuting weekly through the month of August. New-age kids will love it, and there’s a whole nostalgia factor for adults that makes this fun for the whole family! 

 

Lucifer – Netflix (August 21)

Lucifer fans, it’s happening — it’s almost here. Fans couldn’t be more grateful that Netflix saved the series, but the end is near as the sixth season was announced as the last. But let’s not think about that now because for now, the fifth season is due towards the end of August, and fans are eager to dig more into Lucifer’s backstory.

 

Lovecraft Country – HBO (August 16)

One of the most exciting offerings of the month is the the drama horror series based on the 2016 acclaimed novel of the same name. It finds Atticus Black, a young Black man living in a Jim Crow America in the 1950s, who embarks on a cross-country road trip to find his missing father with his friend Letitia and his Uncle George. 

 

Selling Sunset –  Netflix (August 7)

Your reality TV guilty pleasure is back for a season 3 just three months after season 2 dropped. The realtors at The Oppenheim Group are ready to sell more homes, make more money, and stir up more drama. 

 

Cobra Kai – Netflix (August 28)

From Youtube to Netflix, here’s your chance to catch up on the first two seasons of the Karate Kid spinoff before season 3 drops later this year. If you haven’t seen the original Karate Kid films, you may want to check them out first as the series picks up where the first three films left off. 

 

The Umbrella Academy – (July 31)

Technically, season 2 of the series dropped July, but unless you took the whole day off, you didn’t get the binge-watch all 10-episodes before the clock struck August. The Hargreeves siblings find themselves displaced in the 1960s with the apocalypse they were trying to thwart following closely behind. 

 

90s Black Sitcoms

There’s been a lack of Black sitcoms on streaming services, but Netflix is course-correcting by adding your favorites throughout the next few months. Moesha will be available starting August 1.  The first three seasons of  The Game will be added on August 15.  Sister, Sister are coming at you on September 1, The Parkers on October 1, and Half & Half and One on One will be available on October 15. Mark your calendars!

 

Movies

Project Power – Netflix (August 14)

Summer action flicks are no longer debuting in theaters — they’re available from the comfort of your couch. Jamie Foxx and Joseph Gordon-Levitt are fighting dealers responsible for selling a drug that gives people temporary superpowers. What could go wrong? 

 

Chemical Hearts – Amazon Prime (August 21)

If you’ve been missing Lili Reinhart while Riverdale is on hiatus, you have to check out this teen romance drama about the trials and tribulations of young love. Henry Page, a hopeless romantic who has never fallen in love, aims to become the editor of a high school paper until Grace Town, a transfer student, becomes his new partner. 

 

Dora the Explorer – Netflix (August 3)

Get exploring with Dora and friends! The live-action Nickelodeon adaptation arrives at Netflix to explore a lost city in South America as Dora aims to save her parents. It’s like Tomb Raider for youngin’s, and audiences loved it based on the reviews! If you’re looking for a family-friendly film to watch under the stars in your backyard, this is it!

 

Work It – Netflix (August 7)

Dance movies are an acquired taste with many not reaching the heights of Step Up (the original, come on guys). Alicia Keys aims to change that in her new Sabrina Carpenter-led flick, described as a coming-of-age comedy about Quinn Ackerman, an overly ambitious senior who attempts to join a dance team to get her way into her dream college. But when the team rejects her, she creates her own team, and they need all the coaching they can get! 

 

Documentary

World’s Most Wanted – Netflix (August 5)

Netflix is big on documentaries for one reason — Netflix audiences eat them up. Coming in August, World’s Most Wanted focuses on, you guessed it, some of the world’s most wanted criminals who have avoided capture “despite massive rewards and global investigations.”

 

Black Is King – Disney+ (July 31)

Again, the visual album premiered at the end of July, but you’re either going to watch it in August or you’ll be rewatching the stunning cinematography several times in the upcoming month. Beyonce’s work of art has gotten much praise from critics and fans alike as it explores a the journey of a young African king cast from his family with motifs of “betrayal, love and self-identity” told through powerful Black voices. It’s a visual component to the Beyonce-curated 2019 Lion King album. 


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Best Tweets About Beyonce’s Visual Album ‘Black Is King’ on Disney+

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The Best Tweets About Beyonce's Visual Album Black Is King

Beyonce’s highly-anticipated visual album Black Is King is available to stream on Disney+.

Much of the BeyHive stayed up way into the night to watch yet another stunning piece of artwork from the queen of pop that continuously reinvents herself. 

The overall consensus? Black Is King is saving 2020. 

How to Watch Beyonce’s ‘Black Is King’ on Disney+

Check out some of the best tweets about the documentary, that Disney+ describes as a “celebratory memoir for the world on the black experience.”

Twitter is even celebrating because every time you like a tweet with the hashtag #BlackIsKing, two little lions will pop up. That alone is worth going and liking every tweet you see! 

 


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Money Heist: Who Is Alicia Sierra and How Is She Connected to the Professor and the Overall Heist?

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Money Heist: How is Alicia Sierra Connected to the Professor and the Overall Heist?

There’s no shortage of intriguing and enigmatic characters on Netflix’s Money Heist (La Casa de Papel), but season 3 of the crime drama introduced fans to Alicia Sierra (Najwa Nimri), lead police investigator in the Bank of Spain heist, and quite frankly, the most puzzling character to date. 

Sierra is an exciting and worthy replacement for former police inspector Raquel Murillo aka Lisbon, who left her policing days behind to join the Professor’s merry band of robbers following their first heist at the Royal Mint.  

With a lollipop in hand, Sierra is ready to stop the robbery of the bank in its tracks and finally bring the criminals to justice. Her actions and decisions bring a new level of unpredictability to the series, which makes her a worthy opponent for the Professor. Raquel played by his rules, but Sierra has figured out his rules and kept up with them… almost too well.

She’s in it to win it, and prior to her introduction, we hadn’t seen anyone who was equally as cunning as the Professor. 

She’s defined by her brutality; while others would shudder at the thought of using family members as leverage, she’s overjoyed to cross the line on multiple occasions including when she uses Nairobi’s son and Raquel’s ailing mother to manipulate them. 

Sierra isn’t just crazy good at her job, she’s simply crazy… and that allows her to go head-to-head with the Professor, with or without the support of law enforcement. She’s a sociopath, in her own way, that’s equally as complex, ruthless, intelligent, and confident as both the Professor and Berlin.

There are also many parallels between her and Raquel as they’ve both been outsmarted by the Professor on a few occasions, they both lost the support of their team while working the heist investigations, they were both turned into scapegoats for agency, and they both used their instinct to successfully hunt the Professor down. 

But there’s a key difference that sets Sierra apart from Raquel — she’s not in love with the Professor. 

Raquel pursued the Professor, but she was also blinded by love. The trust they developed when she didn’t know who he truly was made it easier for her to understand that, though flawed, his intentions behind the heist were noble. 

Sierra, on the other hand, was motivated to find the Professor to finish a job. She never once lost sight of the prize, and one could say her dedication to the job and capturing the bad guys has been fueling and motivating her. 

The dramatic season 4 cliffhanger, which ended with Sierra finding the Professor’s hideout and ambushing him by pointing a gun at his head, proves we’ll dig deeper into her character come season 5.

She may have the upper-hand as things stand now, but there’s a huge chance the Professor will manipulate and outsmart her while giving us some much-needed background about her. 

The vagueness about Sierra’s villainous character has drawn much attention from fans who are theorizing how she’ll play into the storyline moving forward. 

All we know for certain is that she and Raquel attended police training together, her husband died a few months ago due to cancer (we don’t even know who German is or if he’s important to the story), and that she’s pregnant (and even that’s questionable). 

The thought that Sierra may be faking her pregnancy crossed my mind while binge-watching the series.

Even before Sierra was roped into leading the investigation at the Bank of Spain, she was responsible for inhumanely torturing Rio through illegal tactics such as waterboarding and burying him alive. 

Much of her actions indicate that she doesn’t have much of a maternal bone in her body, and it’s possible that she’s faking her pregnancy to gain sympathy from the public in the instance that her sadistic actions come to light.

The sympathy card has worked on many occasions for the Professor and his robbers, and realistically, we’re all less likely to judge a pregnant woman’s action. It could be the reason why the agency attempted to place the blame solely on her when the Professor exposed their torture tactics on a civilian. 

There have also been other moments where Sierra is seen smoking, gorging on junk food, and drinking caffeine. All of that compounded with the stress of the job cannot be good for a woman in such an advanced pregnancy.

One could chalk this up to personal quirks and Sierra’s unhealthy coping mechanisms, or, it could be a huge red flag that the pregnancy isn’t real. Don’t even get me started about the stamina needed to spend hours interrogating someone or hunting down the Professor without any assistance.

There’s an added level of suspense to having a pregnant maniac in charge — especially so far along in the pregnancy — because the audience is always wondering when she’ll go into labor. 

The most likely (and predictable) scenario lends itself to Sierra going into labor while pointing the gun at the Professor. It would catch her off guard, put her at a disadvantage, and force her to rely on the Professor to help her give birth. It would also allow the Professor to regain control of the situation.

Even though he has some of the most meticulously thought-out plans that anticipate every possible outcome, luck has a tendency of working in his favor. 

But that’s the key to all of this — anticipation. The Professor has played out every possible scenario in his head. Even the ones that have taken him by surprise have, at some point, crossed his mind, so it’s unlikely that he’d be careless enough to leave behind a trail leading directly back to him.

If Raquel was able to find his first hideout, the chances are high that he would consider that another agent, one that isn’t blinded by love and is more cutthroat than Raquel, would be able to track him down, too. 

Not to mention the Professor also has an advantage this time around because Raquel knows Sierra personally and can predict how she’d act in certain situations. 

By making Rio’s torture private, he could’ve anticipated that the agency would try to save face by placing the blame on Sierra, like they did with Raquel, and thus, figured she would seek him out. It’s entirely possible that the license plate and the footage of him threatening a cop that led Sierra to him was all part of the plan. 

He laid the breadcrumbs and she fell into his trap thinking it was a victory. Maybe she’s a necessary part of the plan to help the gang escape from the Bank of Spain alive and with the gold?

Read the full post at TV Fanatic now! 


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