‘Lost (Lost)’ almost ahead of ‘Game of Thrones’ and ‘The Last of Us’ with a script turn that would change the series completely

The following text includes spoilers from ‘Game of Thrones’ and ‘The last of Us’.

Michael Keaton was going to be Jack, the protagonist of ‘Lost (Lost)’the production available in the Netflix and Disney+ series catalog with which JJ Abrams, Damon Lindelof, Jeffrey Lieber and Carlton Cuse initiated the new (new) age of the series in 2004.

“JJ and I had a conversation. I like what he does and I thought it was worth talking to him, he is a very smart uncle“, recalls a Keaton who, at that time, lived a valley of fame after having become the fashionable man with ‘Bitelchús’ (Tim Burton, 1988), ‘Batman’ (Tim Burton, 1989), ‘The Paper (behind the news)’ (Ron Howard, 1994) and ‘My Doubles, My Woman and I’ (Harold Ramis, 1996) and before claiming as charismatic Veteran with titles such as ‘Birdman’ (Alejandro González Iñárritu, 2014), ‘Spotlight’ (Tom McCarthy, 2015) and ‘Spider-Man: Homecoming’ (Jon Watts, 2017).

“He told me that, what he planned for the series was that the guy you think is the protagonist dies in the last ten minutes of the first chapter“, he explains about the original start of ‘Lost (Lost)’.” That kind of thing intrigue me and I thought it was a good idea. Making a one -hour television series is not too lazy, but I thought this was very good because it would not have to appear in the series. “

“I think what happened, and I have never spoken with him, it was that he thought better or that the study told him that this could not happen,” he emphasized about the drastic change in which Jack, the character he was going to interpret in ‘Lost (Lost)’, really became the protagonist, which is why Keaton lost interest in favor of Matthew Fox, who had experience in the format after six Family ‘(Amy Lippman, Christopher Keyser, 1994-2000).

At that time, the surprising script turn in the first chapter could have meant a surprise for an audience that, without seeing for going to its protagonist, bought each and every one of the cliffhangers that the series was proposing. Matthew Fox’s jack raffled the fate of the Marion of Janet Leigh in an improvised production for good and bad, present in much of the ranking with the 100 best series in history and, at the same time, in not a few compilations on the worst finals ever made.

Too daring for the stable 2000, that idea of ​​the fleeting protagonist is something we have had to familiarize ourselves with the arrival of the new one (new [nueva]) It was gold from the series. They tell them if not to the followers of the Ned Stark of Sean Bean in ‘Game of Thrones’the HBO series available in Max in which it failed to reach the end of the season without being cut off in the most hurried way possible or, on the same platform, to those who have suffered an unexpected loss recently in season 2 of ‘The Last of Us’.

Ricardo Rosado is a film critic, cultural journalist, an expert in American comedy, horror films of any kind and everything that happens between genres and formats. Raised between Steven Spielberg films, and spoiled since he ran into David Lynch, has been writing about the art he consumes a decade.

In frames you will read commenting on the last premieres in Salas, promoting peace between Marvel and DC fans, reviewing all the news of Star Wars or submerged in the depths of Netflix, HBO Max, Prime Video and Filmin catalogs. He also likes to make galleries and rankings of films and series, but nobody trusts too much of his criteria.

After studying audiovisual communication at the Complutense University of Madrid, he created a blog of cinematographic reviews in the hope of going free to film festivals and press passes. Now, after seven years writing in photograms about the last premieres in Salas, the series of the moment and any content available in the different streaming channels, continues to think it was worth it.

Frontman of two embarrassing musical projects, director of various video clips of Madrid heavy metal and author of not a few short films hidden in the network of networks, is the editor and one of the proud controntulations of the cultural podcast ‘those next to pumares’, a space that has allowed him to participate as a collaborator in other radio formats such as ‘We are in cinema’ FARO ‘(Cadena Ser), in addition to having made him one of the main voices of frame videos.