There is so much good television on right now. I am constantly hearing about new series that I should be watching. The range of entertainment has never been wider. Fantasy, sci-fi, horror, drama, whatever you want, you can find it and find it in good quality. As the options expand and the base quality continues to rise, it gets harder and harder to catch up on series that you may have previously missed, and inevitably some shows get lost in the shuffle.
Which is an apt way to describe my fear for Lost. I fear that Lost will get lost in the shuffle.
Not immediately, of course, as few shows currently draw such vitriolic opinions. Lost is still gripping our pop culture today whether through homage or insult; sometimes the hero and sometimes the punch line. I once told a buddy whom I had watched the series live with that my friend had started Lost and his only response was, “She’ll be disappointed.”
It’s a common emotion to have regarding Lost as a show: disappointment. I myself was disappointed by Lost in many ways, both on my initial watch during its original airing and on my recent rewatch. The show makes many mistakes in its run, but we cannot discount the impacts that it had on television and the culture surrounding it, and not in spite of these mistakes, but because of them.
The immediate impact of Lost is obvious. High concept shows exploded out in the years following its release (Flashforward, Heroes, Fringe). Production values went up. HD became standard. Exotic and beautifully shot locations became more prevalent. Acting talent skyrocketed, with major actors coming to television. Flashbacks and flashforwards, heck messing with time in general, became commonly seen on mainstream television (How to Get Away With Murder). And casts grew wider and more diverse. A lot of what made Lost stand out is less spectacular in retrospect because it popularized or made these aspects commonplace, with many shows surpassing it in some of these areas.
That fact, along with the obvious mistakes Lost commits, makes watching it in hindsight a little less impressive. Not tiny issues, either, such as missed character beats or a few forgettable episodes. These are episodes and moments so bad that they are unforgettable. Pacing issues so horrendous that the network finally caved to the writers and gave them an end date. And then there is the finale.
The biggest “mistake” of the show that fans and nonfans point to is the finale. I’m not going to reiterate here what can be found being discussed in 4,815,162,342 places on the internet today, but I will talk about who is discussing it.
Lost revealed a type of fan that has pervaded the medium ever since. Discussion about a show had never before reached the levels of discussion when Lost was airing. How could it have? The internet was just beginning as a platform for social media, and Lost was the first show of the internet age to be so conducive to internet chatter.
Due to the unprecedented nature of Lost as the most discussed television show ever, the amount of investment viewers put into the series went well beyond the 44 minutes they dedicated to watching each week. And with investment comes a feeling of ownership. Viewers felt Lost owed them a good ending. Before 2010, most shows dwindled out of existence after years of decline in quality or were unceremoniously canceled before having the chance to grow. Endings for these kinds of shows were often accepted as “good enough,” or a “decent way to wrap up the series.” But when Lost came around, a shift took place from, “I sure hope this ending is good,” to, “This ending better live up to my expectations or I will declare the last six years of watching this show a waste of my life.”
The fans that were disappointed by the ending have carried that with them ever since. When Breaking Bad came to its finish in 2013, three years after the Lost finale, there was an army of fans who tweeted out about how Breaking Bad’s finale is “how you do an ending,” jabbing at Lost and its coolly received send off. They were vocal enough that Damon Lindelof (a writer and creator of Lost) wrote a column about the continued consequences of his finale. I think a lot of these fans felt that the shows were on even ground, and therefore it was fair to say how Breaking Bad outdid Lost. They were not on even ground. Lost had to go first into the raving depths of the people of the internet and try to satisfy everyone. It was uncharted territory, and regardless of whether or not you think the finale was good or bad, it charted the map for other series to follow. Breaking Bad got to learn from Lost’s mistakes, so I sure HOPE it was better. It has no excuse not to be. (Sidenote – “The End” > “Felina.”)
Not only was Lost the first to dive into the “owed finale” age, but it also carried the disadvantage of being set up by a somewhat shaky foundation. With the amount of storylines that had to be created to extend the series and the number of mysteries that were set up, there was no easy way for the ending to pay all of that off. Being given an end date for a series was a privilege the Lost writers had to fight for. Subsequent series such as Breaking Bad and Game of Thrones were created with no intention to last forever. They may not have had the ending planned or decided years in advance, but they also didn’t have to spin their wheels for multiple seasons stretching out a story and then be forced to wrap up all those improvised storylines with the originally intended ones. They could successfully build to a single climax because they were planned to tell a story with a beginning, middle, and end. Yet the Lost writers had this to say back in 2004, “We’re in the dark ourselves in terms of how quickly to unfold the mythology. We don’t know if the show will go for four years or six years. The best way we deal with it is to not look too long term.”
So the wheels spun. On-the-fly storylines and mysteries were thrown in, and the show got messy. Yet the failure of Lost’s middling middle seasons paved the way for networks to start allowing shows to plan an ending.
So let it be known how much of this golden age of television has been brought to us by Lost’s inadequacies. Meandering storylines have been cut down with shorter episode orders, which are much more common today, and even shows with longer episode counts have learned how to pace their seasons better in the wake of Lost’s horrific Season 3 pacing. Mystery shows have a better balance of questions and answers. Some studios are more willing to allow creators to have some leeway. Series are created with the intention of an ending, and NOT to go on forever.
Lost is also influencing the industry in ways that we can’t even consider, even in shows bearing almost no resemblance to it. Lost proved that a massive, 10 million plus count audience would watch something with a large cast of characters, subtitles, a ridiculously complex mythology, and ongoing serialization with multiple timelines that demanded complete attention, and that these audiences wouldn’t just tolerate but encourage these ideas and create discussion and interest. The influence of Lost isn’t just in what creators take from it, or the lessons they’ve learned; it is a subconscious effect that has pervaded the industry since its airing. Broader, genre-bending ideas have become more appealing to both audiences and studios. It raised the bar for production value on television, for directors and actors, and for the scope of projects put into production. No studio head today is saying, “Oh, I’m going to throw millions of dollars at this fantasy dragon show because Lost had a high budget and it was successful.” They say, “I’m going to throw millions of dollars at this fantasy dragon show because it’s a good idea.” But would they really think it was a good idea if millions of people didn’t tune in to watch shenanigans on a magic island for six years?
Yes, I am implying that Game of Thrones owes part of its success to Lost. Does anyone really believe Game of Thrones would have aired in the 90’s? What changed?
There were fantasy shows and sci-fi shows well before Lost. Lost very obviously takes ideas from these shows and series. But Game of Thrones level epics? Genre-bending shows like Westworld? I wish Firefly would have aired after Lost did because I believe it would have not just found a greater audience, but Fox would have been more willing to give it a chance and let the episodes air in the proper order.
Even currently, shows like Manifest are drawing close comparisons to Lost, not just for its airplane disaster premise, but for the interlocking mysteries, characters being drawn together by a greater force, and even recurrent numbers. Less similar shows, like The Good Place, draw from Lost’s sense of mystery and flashbacks. Wrecked is a parody of it. We could go on.
Lost can be a punch line today. It’s mocked for its finale, its sometimes grating characterization, and its plethora of unanswered questions (but come on almost everything was answered). But do we mock the Wright brothers for only getting a few feet off the ground on their first attempt? Especially when there were moments where that flight absolutely soared. When Lost is at its best, there is still nothing like it.
So for future generations, when and if they watch Lost, I hope they realize they are witnessing one of the first flights into the golden age of television. I hope they know that in all likelihood their current favorite show owes at least something to Lost. And I hope that they don’t dismiss the show based on its missteps. After all, Lost took the biggest steps into the new age of television and left a permanent footprint on the industry, even if those prints have since been covered by the many series since that have followed in its wake.
Who Is ‘A’ on Pretty Little Liars: Original Sin?
Fans of Pretty Little Liars know that the show is only as good as its villain.
The HBO Max spinoff, Pretty Little Liars: Original Sin, reimagined “A” as a much more menacing villain that torments and terrorizes a new group of little liars.
As fans get invested in yet another slashes franchise, they are desperately trying to figure out the identity of the stalker and murderer.
Here are some of the best theories we’ve come up with. (This post will be updated on a rolling basis as more suspects are added to the list!)
Angela’s Secret Child
This theory tops the list because it’s the most probable. “A” is connected to Angela as he wants to make all the bullies pay for how they treated her and what they did to her. In the first scene of the series, Angela runs into the Y2K party seeking help from her friends. While it’s unclear what was going on just mere moments before she ran into that warehouse, it does look like she may have gone through something traumatic like a birth, which would also explain why she needed someone’s help. It’s possible that Angela left behind a secret child, who learned all about what happened to his/her mother and decided to do something about it. If the secret child theory is true, it means that any of the liars’ schoolmates could be the enemy, including Chip, Henry, or Shawn. On that note, it could also be a secret sibling or someone who was close to Angela and knew exactly what happened.
Twin twists are a trope that PLL has utilized in the past, so it’s not surprising that fans aren’t completely convinced that Karen Beasley died during the Spirit Queen ball. There have been a few mentions of “twin fusion,” and we’ve seen Karen and Kelly switch places, so it’s entirely possible that the person who fell to her death was Kelly and Karen simply assumed her identity. Even Farron jumps on this theory, which means it cannot be that far-fetched. “Kelly” is also way too chill about her sister’s death, so it’s entirely possible that she was responsible for the fall. However, what would her motive be for dishing out so much chaos and torturing her fellow classmates? While I think there’s a good chance Kelly is Karen, I’m less convinced she’s the true villain of the series.
We have to consider that Kelly is who she says she is. Maybe she played a role in Karen’s death because she hated living in her sister’s shadow. There’s a point where we see a photo of Karen and Imogen holding each other while Kelly is pushed off to the side, so it’s possible all of this stems from jealousy. Kelly could have wanted to be in the spotlight, so she took it upon herself to eliminate the competition. Again, Kelly doesn’t show much remorse for Karen’s death.
While there’s something truly concerning about all of the adults in Millwood, the ballet teacher, Madame Giry, is especially concerning. She seems particularly motivated to destroy Farran, as we’ve seen her spew rude, hateful, and racist comments her way. She even threatens to sabotage her at one point by exposing her secret to the school of her dreams. Her cold attitude does not extend to Karen, however, and, at times, it almost seems like they are in cahoots together.
The only person worse than Madame Giry is Sheriff Beasley. He’s hellbent on getting revenge on the liars following Karen’s death, but the obsessive nature of his anger is truly worrisome. Beasley is filled with rage, and he’s emotionally abusive to everyone around him, including his wife and family. Karen even made it clear that she hates her father as he hides behind religion despite being a walking version of toxic masculinity. And he’s also a person who has many dark secrets of his own, so why not add one more to the list? Beasley likely went to school with the mom group responsible for Angela’s death. Considering his thirst for power, I’d say he likely wasn’t the most popular guy in high school, so it’s possible that he even knew Angela or was her only friend. Maybe they were even in love. Beasley also has the means, resources, and money to pull off the level of stalking that “A” does.
Mouse gets a strange side story involving a man named Steve, who lost his daughter. He chats with Mouse and even meets up with her on Halloween to fill a void. And Mouse later reveals that someone close to her is gone after a traumatic situation. From the photos, it seems like it might be her father, but we don’t have any indication of what happened to him. Is it possible that he became estranged and spiraled into “A”? Or is Steve so obsessed with Mouse that he moonlights as the stalker?
Imogen’s Baby Daddy/ Actual Daddy
There are a lot of possible theories here simply because we don’t know the history or anyone’s backstory. We know Davie is Imogen’s mother, but who is her father? And who is the baby daddy that Imogen seems to refer to as a terrible dude? Is it possible that Imogen is Angela’s secret child that Davie adopted? Is there someone out there who knows the truth, possibly Angela’s baby daddy, who wants revenge? In fact, while we know all of the liars’ moms, we don’t know anything about their fathers, which opens up a world of possibilities as it seems the person under the mask is a man that has enough strength to load up a lifeless body into his van.
Boo, Bitch Limited Series Review – Erika Vu Is a Terrible Best Friend
We’re living in a world where nostalgia, specifically ’90s and early 00s nostalgia, permeates everyday life.
Boo, Bitch is, without a doubt, a limited series geared at Gen Z’ers, but there might be some jokes that almost go way above their heads — unless they’ve seen Mean Girls, that is.
The series, minus the whole dying aspect, is quite literally the plot of the Lindsay Lohan-led rom-com, right down to the “you can’t sit with us” quote. Of course, the Burn Book is swapped for a video time capsule, trending online, and TikTok, the modern-day interests of high school seniors.
At the center of it all is the new
Cady Heron, Erika Vu, played by Lana Condor.
I had high hopes for this series given Condor’s work in the All the Boys I’ve Loved franchise, and, don’t get me wrong, she did not disappoint.
Condor poured her soul into the role. She understood the assignment, took the material, and delivered a compelling, jarring, uncomfortable, and actually quite terrifying performance that showed off her range and versatility as she changed beats and personalities at the snap of a finger. One minute she was, essentially, Lara Jean, and the next, Cady of social media steroids.
What did disappoint, however, was the plot and the uneven pacing that brought us such varying versions of Erika, to begin with. The conclusion lacked a fulfilling end to Erika’s whole “Main Character” transformation.
When the teaser for the series first dropped, I was intrigued, but the fun supernatural concept with a hint of teen spirit quickly fizzles out and the series takes a dark turn that it truly never bounces back from.
There are some unexpected plot twists that are delivered effectively, but it all gets muddled in a series that tried way too hard…. just like Erika Vu.
Erika begins the season as a likable and semi-nerdy character who is so scared of existing that she hasn’t done anything that makes her feel alive. She’s the type of girl next door character that you can find yourself rooting for, even if she made a few missteps along the way and fell into the popularity trap that all too many teen rom-com movies and shows use as a crutch.
Her sidekick is Gia, (Zoe Margarett Colletti), who turns out to be the lifeline of the show. Gia may not be the most popular girl in school, but she remains as constant throughout the entire series, No matter what she endures and no matter the twists that are thrown her way, she never changes. She’s herself to the fullest form; she’s a wacky, lovable, and most importantly, caring and dedicated, friend.
When it’s revealed that *plot twist,” Gia is the one that was hit by a car and subsequently crushed to death by a moose — brutal! — instead of Erika, everything changes. There’s a tonal shift in the series, but it still feels justified at first.
Erika can’t seem to figure out who she is, but since she’s dying, she has nothing to lose so she attempts to go out in a glorious fashion and starts doing all the things that truly scare her, including pursuing a relationship with Jake C. It’s all understandable given her predicament, but then, she takes it too far and then even further, morphing into her own worst enemy, Riley, in front of our very eyes.
Instead of making the best of her final days with the people she cares about and leaving behind a legacy, she picks up the worst characteristics and becomes a walking nightmare. In an attempt to clear her own karma, she somehow misses the point and ensures that she’s the most hated person around.
There are obnoxious Tiktok dances, influencer-type shenanigans, speaking in acronyms, and much more as Erika clings on to any and every bit of “fame” with the zero personality that she has left. Everything that made Erika Vu unique, the part of her that gained Jake C’s attention and mustered up the courage to stand up to Riley, is gone as she becomes a shell of herself. Much like Gia, you quickly regret ever giving this power-hungry monster the chance to evolve.
And that’s not even the worst part. The worst part about Erika is that she feels absolutely no remorse. Even the realization that her best friend is dying doesn’t snap her back into reality; Her spiral into influencer demon only intensifies.
Admittedly, it’s not great to allow your BFF to believe she’s living on borrowed time (it isn’t fetch, okay?), but one can appreciate that Gia made the decision out of love. She didn’t want the only time Erika decided to live to be plagued by the memory of her best friend’s death. She was scared Erika would recoil and undo any progress once she found out the truth, so she kept up the lie in hopes that her best friend would finally live a fulfilled life.
It was a problematic decision, sure, but it was also incredibly selfless. And selfless should be Gia’s middle name because, throughout the whole series, she sacrificed her happiness at every turn for Erika. She knew her days were numbered and yet, she watched Erika prioritize her new relationship while allowing herself to be pushed to the side and treated like a nobody.
Erika’s anger toward Gia would’ve been justified for a day or two, but any person, upon finding out that their best friend is a walking corpse, would realize the bigger picture and forgive them.
Erika didn’t. Instead, she continued to put herself first, waving off Gia at every turn, and even asking her, at her weakest moment when she began glitching, to help with some insignificant and inconsequential request, which, might I add, Gia still delivered. Erika didn’t deserve it, but it’s proof that Gia’s a boss.
When Gia finally flipped out on Erika — a more than warranted reaction — Erika didn’t even seem to understand the problem and brushed it off.
It got to the point where Erika didn’t realize for a full 30 days that her best friend was a literal ghost. People couldn’t see, talk to, or feel Gia, and Erika never picked up on it, which quite frankly, is the most telling thing about Erika.
Now, I know that eventually, Erika does have a come to Jesus moment, but it all just feels a little too late.
Despite Gia finding the light, the series never actually finds the emotional hook again after Erika’s spiral. The end feels so forced and abrupt. When Erika realizes at the last moment what she should’ve known this whole time, the resolution doesn’t feel deserved or justified.
Even in the end as Gia tackles her unfinished business — attending prom with her bestie and a cute guy — and moves on, it doesn’t actually seem like Erika has learned her lesson.
In a moment that Erika also makes all about herself, she gives a heartfelt speech about her BFF. Gia ascends and her photo appears on everyone’s phone for a mere few seconds before they get back to the party as if nothing ever happened.
And that’s it.
Gia’s whole existence, which was already muted so that Erika could shine throughout much of the series, was just over in the blink of an eye. It was reduced to an impromptu apology that weaves in how great she was to a crowd of people who, much like Erika, barely even knew she existed.
The series has so many potential endings and possibilities that could’ve really resonated with audiences and tapped into lessons about life, loss, grief, second chances, and friendship in a comical way that was fitting for the series, and yet, this is what they chose.
And I get it, everyone makes mistakes, especially teens, but in this case, Erika’s never held accountable. She’s basically told that it’s okay to treat people like they are disposable and rack up massive amounts of debt (those poor parents) for the sake of being popular and known.
She barely even shed a tear over her best friend’s death, nor did she seem impacted or altered by the death, which should’ve been profound considering that Gia was her one and only friend and confidant throughout much of high school. A ride or die, if you will.
It was a shallow end that handed Erika a version of the “get out of jail free” card, while Gia was dealt a terrible hand from start to finish. What did the poor girl do to deserve this treatment? Surely, she wanted more out of life than this. I’m sure she had her own dreams, plans, and ambitions for a legacy. Her parents weren’t even around while she dealt with the fact that she was dead and attempted to preserve her own body while Erika lived it up. She was all alone — though, Gavin was a saving grace.
I can’t be the only one who thinks that Gia deserved so much more. She deserved that Main Character energy!
Erika deserved better, too. She started off as such a strong and promising character, and while we all lose our way in life, the focus of at least a few episodes should’ve included her trying to find her way back and make it up to Gia before their time ran out.
Gia deserved that, at the very least. She deserved an apology; she deserved to be treated like a priority for a day. Unfortunately, the friendship that was rock solid at first barely got a fitting conclusion in the end.
The reason Mean Girls remains such a beloved cult classic to this day is that, at the end of the day, the Plastics all learned their lesson and truly paid the price for their hostile actions. It’s not glossed over or rushed — it’s a big turning point in the film. There’s accountability, remorse, forgiveness, and a season of change that turns the one-dimensional bratty characters into well-rounded women deserving of love and acceptance.
We never actually get any of that with Erika. She wastes precious time prioritizing all the wrong things in life while the people that really matter and deserve her attention are an afterthought till their dying breath. Literally.
And maybe that’s a thinly veiled hint that we prioritized the wrong show too.
Only Murders in the Building Season 2 – Who is the Killer? We’re Logging Every Clue on the Murder Board
Only Murders in the Building season 2 carries the torch of the first season, putting a unique spin on the murder mystery genre.
The killer, who is most likely also the person framing Mabel, Charles, and Oliver (who are all persons of interest) likely won’t be revealed until the final episode, but we’re creating an online murder board to keep track of all suspects and possible clues hinting at this person’s identity.
Join us — and the characters who attempt to solve the whodunnit on their podcast via new weekly episodes that air every Tuesday on Hulu– as we theorize who is responsible for the latest murder at the Arconia!
*Cue the theme song*
Victim: Bunny Folger
Her Last Words: 14 and Savage
Cause of Death: 8 stabs wounds
Murder Weapon: A knife that was found in Charles’ apartment and a knitting needle
Place of Death: Mabel’s apartment
Played by Cara Delevigne, Alice slides into Mabel’s DM’s shortly after she lands the front page of the tabloids as “Bloody Mabel.” The art artist collective owner invites Mabel to a gallery opening in an attempt to cozy up to her and get her to open up. Maybe she just sees past Mabel’s flaws, but considering the whole mystery hinges on a missing painting by the artist Rose Cooper (who also died a mysterious death), we simply cannot rule it out. Maybe she wants the painting… maybe she wants Mabel. Honestly, maybe Rose was Alice’s mom who was murdered by Charles’ dad, her lover, and Alice is trying to get revenge on him by getting close to Mabel. Also, Alice Banks doesn’t sound like it would be her real name, so she’s suspect #1 for now.
Amy Schumer is playing an exaggerated version of herself who just moved into Sting’s former penthouse. She’s a fan of the podcast — almost to an obsessive point — who wants the rights to it so she can turn it into a streaming service series and channel her inner Jan. You need a murder mystery in order to have a successful podcast… and then a show, I’m just saying. Plus, I have to believe that there’s a reason the series included her character!
I’m sorry to do this to you Uma, but there’s no one that knew Bunny better than her best friend. She not only knew about the painting, but she knew its worth. Maybe jealousy got the best of her?
We don’t know much about Nina other than the fact that she’s the New Board President. Howard says she has wanted the gig for a long time, which gives her motive. And he also warned the trio not to be fooled by her “maternal glow,” comparing her vibe to Rosemary’s Baby instead.
We learn a bit more about Nina in the third episode as she gets into a heated altercation with Bunny. Nina and Bunny seemed to be on good terms with the former training the latter and passing on her Board President wisdom and duties. Nina seemed like a star pupil worthy of taking on the title, but when Bunny suddenly had a change of heart during her “retirement party,” things got pretty ugly between the women. Nina told Bunny the only reason she was Board President was because of her mother. She called her a “selfish, self-important, stuck in the past relic,” which is, well, harsh. When Bunny told the “power-hungry baby bumpy bitch” that she wouldn’t let her “get away with this,” Nina seemingly threatened back with “I won’t let you stop me.” The altercation happened mere hours before Bunny was accosted in her home.
On the fourth episode, we find out that Nina was hoping to modernize the Arconia with some kind of space pod, a plan Bunny would never agree to. However, when she goes into labor later in the episode, she mourns Bunny’s death hoping that she was around to meet her future child. She then tells Charles to find the murderer and give her a few minutes alone with them! There’s always the possibility that she’s acting, but a woman in labor strikes me as someone who will tell the truth.
Nina’s baby daddy is kind of at the top of our list of suspects. He has a stake in modernizing the Arconia, he gains from removing Bunny and making Nina the Board President, and he would have all the blueprints to the Arconia, which means there’s a possibility he knew about the tunnels.
He also seems to come from wealth, so there’s a chance he could’ve been an art fanatic and wanted the artwork from Bunny. Who knows, maybe he was even Bunny’s secret child who came back to get what was his and when she refused, he decided to kill her.
Killing your own daughter is certainly cruel, but crazier things have happened. Leonora wasn’t really phased by her daughter’s passing, but she was very interested in finding her painting. She even came with the original bill of sale in order to retrieve her prized possession. Yes, she’s technically blind and can’t cut a piece of cheese to save her life, but it could’ve all been an act. And there’s also the whole affair with Charles’ father that she casually mentioned after informing Charles that she knew exactly who he was this whole time. She clearly knows way more than she’s leading on.
If she’s devious enough to blatantly steal a podcast, she’s not above murder. A murder suspect has to benefit from the crime, and Cinda sure does! By giving the Arconia another murder victim, she deepens the mystery and secures herself a compelling season.
I don’t ever want to think badly of Ursula, but she was really suspicious when angrily throwing out a random box of documents and looking around to make sure there weren’t any witnesses. What’s she trying to hide? This couldn’t have been a routine dump.
Yes, she supposedly went missing in the ’50s and is believed to be dead, but no one ever found a body. There could be so many unknown twists and turns about her identity that we have yet to discover. What’s her true connection to all of this? Or is Rose Cooper actually Leonora?
Mabel’s sort-of ex. What happened to him? Why are they moments away from the friend zone? Are we to just believe the streamer couldn’t get him back this season, or is there another reason he’s staying away… I don’t know, maybe like framing your girlfriend and her friends for murder?
While I don’t actually think that Oliver has what it takes to kill Bunny, the truth is that he had a deep hate for her, at one point even calling her a witch. Furthermore, he did mention that Bunny would “die at the Arconia,” so he’s slightly suspicious. It could also be why he’s gunning for the team to revitalize the podcast and clear their names. Of course, he was also on the rooftop celebrating his podcast success with Mabel and Charles, so the odds of him being the killer are slim.
Bunny was a lot to handle, so it’s safe to say that as Board President, she harped on Lester quite a lot. We saw a brief scene where she called him “useless” as she belittled his work ethic and even said she would have him fired.
Howard is a longtime Arconia resident who could definitely know about the secret passages. He strikes me as an allergy sufferer, and Lucy, who laid eyes on the hooded killer recalled them sneezing as they made their getaway through the tunnels. Howard also tried to divert attention to Nina by saying she has a violent streak and explaining that she will “cut a b**ch.”
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