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  • Writer's pictureJULY

Top 6 things that don't make sense in the FUBAR series on Netflix


After the post where I gave a general evaluation of the series, I decided to bring this one where I present the six points that made me look and think the most: “Does this really make sense in a serious TV show?”Or are they just playing with us?" And here are the six most absurd things in FUBAR:

THE GUYS FROM THE FITNESS STORE'S COMPETITION:

First, these guys enter the store out of the blue, demanding to see its accounting, displaying a total lack of awareness. Then, they keep spying on the store, and when they finally obtain something that could harm it, instead of calling the police, they give the footage to Tally. It's hard to understand these guys.




LUKE CHASING HIS EX-WIFE ALL THE TIME:

Luke keeps harassing Tally all the time and being intrusive with her boyfriend. Tally's luck is that Donnie is practically a saint and ignores all of Luke's antics. What a toxic attitude to keep interfering in the life of a woman he lost due to his fault. And to make matters worse, Tally still has feelings for Luke and ends up giving them a second chance. Only to have that infatuated Luke, willing to do anything to win back his ex-wife, easily give up on her after a moral lesson from the spoiled daughter Emma. Breaking up with his ex over the phone and advising her to be with Donnie is just depressing. And the worst part is when Tally proposes to Donnie just to get over Luke's rejection—a total lack of maturity.




EMMA AND HER LOVE INTERESTS:

Emma is a walking controversy. She's in a serious relationship with Carter, but she constantly lies to him. When she finds out that her father is a CIA agent, she condemns him for lying to the family all the time, which is contradictory. Moreover, she kisses Aldon in the hospital parking lot where her niece is admitted, with the whole family present. Emma plays with Aldon all the time, teasing him and then backing off. It seems like she thinks she's the center of the universe. Her behavior is annoying and shows that she uses her persuasive power not only at work but also to play with people's feelings in her life.





FACILITATING BORO'S ESCAPE:

Another senseless sequence is when, after finally capturing Boro, they decide to make a deal with him and take him to an abandoned warehouse to attract his buyers. Obviously, it was all Boro's plan, and he manages to escape again, continuing the saga of his capture. In the real world or even in fiction, CIA agents wouldn't take a dangerous prisoner out of a maximum-security building just to lead him into the middle of nowhere. This makes no sense whatsoever; it's pure plot convenience.



BORO, AN UNDERUTILIZED VILLAIN:

The character of Boro is poorly developed. First, he is introduced as a dangerous arms dealer, extremely intelligent and educated, with excellent connections, all thanks to the education Luke provided him. However, as the series progresses, we get to know a more human side of him as a boy who lost his father early and sees Luke as a great friend and role model. Although he seems threatening in some situations, his interactions with Luke don't make us believe that he is truly the fearsome villain they want to portray. His motivations are also confusing, sometimes seeking revenge and sometimes seeking profit with his nuclear weapons. The character's development leaves much to be desired.








EMMA, THE HEROINE THAT NEVER HAPPENED:

Just like Boro, Emma also has inconsistent character development. She is introduced as a highly professional and intelligent agent, but her constant fights with her father and her confusing love life make her irritating and immature. On the other hand, in action situations, she shows skill as an agent, especially when she's trapped with Boro in the underground shelter. However, the series failed to develop her potential, leaving her as an annoying and spoiled character. Actress Monica Barbaro is talented and capable of portraying a strong woman, but the series didn't explore this aspect of her character well.



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