1 00:00:01,120 --> 00:00:05,000 Speaker 1: Seven seasons Weekend Breakfast Film and TV. 2 00:00:08,039 --> 00:00:10,240 Speaker 2: It's ten minutes before eight to o'clock. Welcome back to 3 00:00:10,280 --> 00:00:13,080 Speaker 2: this special good Friday edition of seven or two Weekend 4 00:00:13,080 --> 00:00:14,440 Speaker 2: Breakfast with Nikooks and Kloom. 5 00:00:14,680 --> 00:00:16,680 Speaker 3: Time for us to talk TV and. 6 00:00:18,079 --> 00:00:23,439 Speaker 2: Season three of Fatal Seduction has launched on Netflix. It 7 00:00:23,600 --> 00:00:27,400 Speaker 2: is the third chapter of this very sexy South African thriller. 8 00:00:28,200 --> 00:00:32,559 Speaker 2: They've announced quite an impressive number of new cast members. 9 00:00:32,560 --> 00:00:35,479 Speaker 2: One of them is award winning actress and dancer. She 10 00:00:35,560 --> 00:00:38,360 Speaker 2: has been on South African screens for many, many years. 11 00:00:38,640 --> 00:00:41,720 Speaker 2: Lasha Copa Coma is joining the show. And before we 12 00:00:41,720 --> 00:00:45,880 Speaker 2: get into our conversation, here's the trailer from this season's 13 00:00:45,920 --> 00:00:47,320 Speaker 2: from the season of Fatal Seduction. 14 00:00:47,760 --> 00:00:52,120 Speaker 4: Betis infect score. 15 00:00:52,960 --> 00:00:56,120 Speaker 2: You're obsessed with him, sirs. 16 00:00:56,160 --> 00:00:59,800 Speaker 4: Come, looks like we've all been invited to Jacob's wedding. 17 00:01:01,120 --> 00:01:03,200 Speaker 1: What is my seem to be a husband doing here? 18 00:01:05,880 --> 00:01:08,240 Speaker 4: You're playing a very sick game. 19 00:01:08,360 --> 00:01:12,440 Speaker 2: I am trying to frame myself from you so bad. 20 00:01:12,319 --> 00:01:21,399 Speaker 4: For Jacob's fiance that they say she jumped off the 21 00:01:21,480 --> 00:01:25,759 Speaker 4: roof of the hotel. It's Jacob's fiance, man, You really 22 00:01:25,800 --> 00:01:35,480 Speaker 4: think she killed herself? And I'll do anything for you don't, Jacob, 23 00:01:35,680 --> 00:01:38,120 Speaker 4: he's the murderer. It's my job to find out that. 24 00:01:40,880 --> 00:01:43,520 Speaker 4: I want us to start a life without any secret. 25 00:01:44,120 --> 00:01:45,479 Speaker 1: Everyone I love, I use. 26 00:01:48,120 --> 00:01:48,960 Speaker 3: That's like a girls. 27 00:01:50,560 --> 00:01:53,000 Speaker 4: I don't want to keep feeling guilty about it. I 28 00:01:53,080 --> 00:01:53,720 Speaker 4: want to be free. 29 00:01:55,480 --> 00:01:57,520 Speaker 1: Why is it about him that tries all of you 30 00:01:57,680 --> 00:01:59,720 Speaker 1: so crazy? 31 00:02:00,600 --> 00:02:03,680 Speaker 3: How much longer are you gonna let this boy ruin us? 32 00:02:04,880 --> 00:02:05,040 Speaker 4: None? 33 00:02:05,040 --> 00:02:07,120 Speaker 1: They always had to play roles the good mother, the 34 00:02:07,200 --> 00:02:07,760 Speaker 1: good wife. 35 00:02:08,320 --> 00:02:10,360 Speaker 3: You're under a risk for the murder of Kim Jansen. 36 00:02:23,200 --> 00:02:25,919 Speaker 2: That is the trailer for this later season, season three 37 00:02:25,960 --> 00:02:28,000 Speaker 2: of Fatal Seduction, and has mentioned. One of the people 38 00:02:28,120 --> 00:02:33,320 Speaker 2: joining the cast for this third season is Loshako. She 39 00:02:33,440 --> 00:02:37,480 Speaker 2: joins as plays the character of Sandra, and she joins 40 00:02:37,560 --> 00:02:39,520 Speaker 2: us on the line to tell us about her joining 41 00:02:39,520 --> 00:02:41,440 Speaker 2: the cast. Losha, thank you so much for your time 42 00:02:41,480 --> 00:02:41,919 Speaker 2: this morning. 43 00:02:41,960 --> 00:02:49,480 Speaker 1: Good morning morning, good morning listeners. So we can be safe. Yes, yeah, 44 00:02:49,600 --> 00:02:51,000 Speaker 1: just keep it tidy out there. 45 00:02:50,919 --> 00:02:53,200 Speaker 3: Happy good Friday. Thank you so much for joining us. 46 00:02:53,280 --> 00:02:55,520 Speaker 2: So you are one of the new cast members for 47 00:02:55,520 --> 00:02:57,240 Speaker 2: Fatal Seduction season three. 48 00:02:57,360 --> 00:02:59,079 Speaker 3: Tell us about your character Sandra. 49 00:03:00,080 --> 00:03:02,760 Speaker 1: Oh, it's so exciting. I mean, this is my debut 50 00:03:02,919 --> 00:03:06,440 Speaker 1: on Netflix. It's my first thing on Netflix, so that's 51 00:03:06,480 --> 00:03:12,120 Speaker 1: really exciting for me. Sandra Fatal Seduction three on Netflix. 52 00:03:12,240 --> 00:03:13,720 Speaker 1: I think the thing that blew my mind is that 53 00:03:13,760 --> 00:03:16,880 Speaker 1: it's getting streamed in one hundred and ninety countries in 54 00:03:16,919 --> 00:03:20,240 Speaker 1: the first weekend out to hit number one. So that 55 00:03:20,400 --> 00:03:24,120 Speaker 1: was super exciting, especially since it's, you know, my first 56 00:03:24,120 --> 00:03:28,160 Speaker 1: time out on that platform as Sandra coming into Sandra. 57 00:03:28,280 --> 00:03:30,480 Speaker 1: For me, you know, it's always as we get older, 58 00:03:30,560 --> 00:03:35,000 Speaker 1: especially as women, there's this thing that happens when we 59 00:03:35,200 --> 00:03:39,040 Speaker 1: kind of go, well, what's appropriate, what's not appropriate? What 60 00:03:39,160 --> 00:03:42,120 Speaker 1: should we be doing, what shouldn't we be doing? And 61 00:03:42,160 --> 00:03:46,720 Speaker 1: for me, it was about approaching my art with absolute courage, 62 00:03:46,800 --> 00:03:50,200 Speaker 1: owning you know, my body, myself and what else I 63 00:03:50,240 --> 00:03:53,000 Speaker 1: could be able to do and what is my capacity 64 00:03:53,000 --> 00:03:56,440 Speaker 1: as an artist? And I really wanted to stretch myself 65 00:03:56,800 --> 00:04:00,000 Speaker 1: and break these norms about how women in their life 66 00:04:00,040 --> 00:04:04,520 Speaker 1: forties for season sixties should behave according to our programming. 67 00:04:04,760 --> 00:04:08,760 Speaker 3: Yeah, and so how did you prepare for this character? 68 00:04:10,800 --> 00:04:13,880 Speaker 1: You know, I was interesting. I always approach my characters 69 00:04:13,920 --> 00:04:19,159 Speaker 1: from the perspective of not myself but living in someone 70 00:04:19,200 --> 00:04:22,160 Speaker 1: else's shoes. So the first thing I'll always do is 71 00:04:22,200 --> 00:04:24,920 Speaker 1: I have absolutes understanding. You know, there's a golden rule, don't 72 00:04:24,960 --> 00:04:28,960 Speaker 1: ever judge the character. So I think that for me, 73 00:04:29,400 --> 00:04:32,560 Speaker 1: as I approach any kind of storytelling O onboard, it's 74 00:04:32,600 --> 00:04:34,800 Speaker 1: about honoring the story of someone out there. 75 00:04:34,839 --> 00:04:35,039 Speaker 3: You know. 76 00:04:35,800 --> 00:04:40,240 Speaker 1: What was really cool though, was the intense level of 77 00:04:40,279 --> 00:04:44,960 Speaker 1: intimacy coaching. I mean, every single scene is choreographed, Every 78 00:04:45,000 --> 00:04:48,479 Speaker 1: single scene is to the tea. It was like doing 79 00:04:48,520 --> 00:04:52,000 Speaker 1: a piece of choreography on stage. It was safe, and 80 00:04:52,080 --> 00:04:56,640 Speaker 1: I applaud Netflix for that. Everyone safe. Everyone understands what's 81 00:04:56,640 --> 00:04:59,800 Speaker 1: a yes and what to know. Everyone understands what someone 82 00:04:59,839 --> 00:05:02,760 Speaker 1: else as boundaries are, what their face is. And so 83 00:05:03,480 --> 00:05:06,159 Speaker 1: it comes with a lot of kind of consciousness, like 84 00:05:06,200 --> 00:05:08,000 Speaker 1: you've got to be conscious in the moment to not 85 00:05:08,200 --> 00:05:11,440 Speaker 1: just it's not lacks a day's ago. Yeah, very particular. 86 00:05:11,600 --> 00:05:15,640 Speaker 1: So yeah, and when you're shooting those kinds of scenes, 87 00:05:15,680 --> 00:05:18,919 Speaker 1: it's a skeleton crew on the floor. It's just so 88 00:05:19,080 --> 00:05:20,000 Speaker 1: beautifully howled. 89 00:05:20,440 --> 00:05:21,920 Speaker 3: Yeah, you say, this is. 90 00:05:21,880 --> 00:05:26,160 Speaker 2: Your this is your first I guess production with Netflix. 91 00:05:26,760 --> 00:05:29,440 Speaker 2: And is there a difference in the way in which 92 00:05:29,520 --> 00:05:33,640 Speaker 2: streaming content is made versus content for like terrestrial TV, 93 00:05:33,760 --> 00:05:37,320 Speaker 2: whether it is free to air or PayTV. Is there 94 00:05:37,360 --> 00:05:41,920 Speaker 2: a different way of working for streaming that you are 95 00:05:42,000 --> 00:05:44,680 Speaker 2: I guess now immersed in or you know you would 96 00:05:44,680 --> 00:05:46,840 Speaker 2: have experienced with face or seduction. 97 00:05:47,640 --> 00:05:51,080 Speaker 1: There is a difference. I think we're always pushed for time. 98 00:05:51,160 --> 00:05:54,640 Speaker 1: That's kind of something that in our industry is a normal. 99 00:05:54,640 --> 00:05:57,640 Speaker 1: We're always pushed for time. But of course there's a 100 00:05:57,680 --> 00:06:01,440 Speaker 1: budgetary difference. I mean, for me on this Netflix job, 101 00:06:01,480 --> 00:06:04,880 Speaker 1: it was the first time I had a trailer. I 102 00:06:04,920 --> 00:06:07,719 Speaker 1: had my first like, oh, I have a trailer, this 103 00:06:07,880 --> 00:06:10,240 Speaker 1: is my trailer, and have my character's name and my name, 104 00:06:10,640 --> 00:06:12,960 Speaker 1: and so it's the kind of things I think we've 105 00:06:13,000 --> 00:06:16,320 Speaker 1: seen Hollywood do. And the fact that we get to 106 00:06:16,400 --> 00:06:20,480 Speaker 1: experience it on set in our country, of course it's exciting. 107 00:06:20,839 --> 00:06:23,120 Speaker 1: I mean at forty six, I was in my first trailer. 108 00:06:23,400 --> 00:06:26,440 Speaker 3: Sure, wow, yeah, if. 109 00:06:26,240 --> 00:06:28,159 Speaker 1: That's just a little something. And then of course you 110 00:06:28,200 --> 00:06:30,800 Speaker 1: know the prep work that goes into it. There's more 111 00:06:30,880 --> 00:06:37,080 Speaker 1: time because of obviously budget, the intense support from for example, 112 00:06:37,120 --> 00:06:40,680 Speaker 1: you know, your intimacy coaches. Yeah, so it does make 113 00:06:40,880 --> 00:06:44,720 Speaker 1: it does make differences to not only the show itself 114 00:06:44,760 --> 00:06:47,839 Speaker 1: in equality, which is undeniable when you watch fatal production, 115 00:06:48,279 --> 00:06:52,840 Speaker 1: all three of them I think it shows in the 116 00:06:52,960 --> 00:06:57,280 Speaker 1: quality of the work because of the delivery and what 117 00:06:57,320 --> 00:07:01,280 Speaker 1: we're able to do because of budget, and. 118 00:07:01,240 --> 00:07:03,120 Speaker 3: So having your first trailer. 119 00:07:03,240 --> 00:07:05,640 Speaker 2: Is it as glamorous as it seems, because often when 120 00:07:05,680 --> 00:07:08,280 Speaker 2: we watch you know, American productions, we'll see, you know, 121 00:07:08,440 --> 00:07:10,840 Speaker 2: someone stepping in and out of their trailer. It looks 122 00:07:10,920 --> 00:07:13,360 Speaker 2: very fancy. Is it as fancy as it looks? 123 00:07:14,680 --> 00:07:17,440 Speaker 1: I mean, I think the thought of it is more fancy. 124 00:07:17,680 --> 00:07:21,280 Speaker 1: We're working, you know, so you could be on set 125 00:07:21,680 --> 00:07:24,880 Speaker 1: for like twelve hours and see that trailer in the morning, 126 00:07:25,280 --> 00:07:29,200 Speaker 1: maybe during lunch and then at wrap because we're working 127 00:07:29,240 --> 00:07:31,400 Speaker 1: most of the time. When you're on set, it's twelve 128 00:07:31,440 --> 00:07:36,240 Speaker 1: hour days. You know, our drugs are so demanding and relentless, 129 00:07:36,360 --> 00:07:38,760 Speaker 1: like you just got to keep going, so you don't 130 00:07:38,840 --> 00:07:40,920 Speaker 1: really focus, you know, you go to your trailer when 131 00:07:40,920 --> 00:07:44,600 Speaker 1: you just need two minutes. So the glamor, I think 132 00:07:44,760 --> 00:07:47,280 Speaker 1: is something we get sold, which is why everyone guns 133 00:07:47,280 --> 00:07:49,920 Speaker 1: for this career. From a point of like our fame. 134 00:07:50,640 --> 00:07:53,280 Speaker 1: For me, I think I've always been called to impact 135 00:07:53,280 --> 00:07:56,840 Speaker 1: through storytelling, to honor people's stories out there, to hope 136 00:07:56,840 --> 00:07:59,720 Speaker 1: that people can resonate with whatever the story is, and 137 00:08:00,040 --> 00:08:02,160 Speaker 1: that you need to really give up yourself. I mean, 138 00:08:02,400 --> 00:08:04,920 Speaker 1: I always say, if you can't earnestly go there, don't 139 00:08:04,960 --> 00:08:07,920 Speaker 1: expect someone else to be transported by the work that 140 00:08:07,960 --> 00:08:10,640 Speaker 1: you're giving them. Your work is about transcendence. So when 141 00:08:11,000 --> 00:08:14,480 Speaker 1: when the audience is experiencing your work, it should touch them, 142 00:08:14,560 --> 00:08:17,720 Speaker 1: make them think, make them lose you know, where they 143 00:08:17,760 --> 00:08:21,080 Speaker 1: are in that moment. Whose the kind of stress where 144 00:08:21,120 --> 00:08:23,840 Speaker 1: they are in that moment, just while they're watching what 145 00:08:23,880 --> 00:08:28,720 Speaker 1: they're consuming on television entertainments not just about oh, it's entertainment. 146 00:08:28,760 --> 00:08:31,240 Speaker 1: We're not side acts, you know. And we saw that 147 00:08:31,360 --> 00:08:34,880 Speaker 1: during COVID, and we saw how Netflix was really just 148 00:08:35,000 --> 00:08:38,480 Speaker 1: it just gave us a home. I don't know what 149 00:08:38,520 --> 00:08:41,640 Speaker 1: we would have done without Netflix during COVID, because it 150 00:08:41,640 --> 00:08:44,760 Speaker 1: helped us escape just being in these four walls. It 151 00:08:44,800 --> 00:08:48,360 Speaker 1: helps us transport ourselves to another place another time. I 152 00:08:48,400 --> 00:08:52,040 Speaker 1: watched so much Korean content during COVID. It was frightening, 153 00:08:52,640 --> 00:08:54,959 Speaker 1: but I felt like I was there. I learned about 154 00:08:54,960 --> 00:08:57,400 Speaker 1: their culture, I learned about their food, and yeah, I 155 00:08:57,559 --> 00:08:59,360 Speaker 1: just opened my world up. And the fact that I'm 156 00:08:59,400 --> 00:09:03,520 Speaker 1: now getting me situs from all over the world is 157 00:09:03,840 --> 00:09:07,000 Speaker 1: crazy for me. Hey, I'm watching your show from India. Hey, 158 00:09:07,000 --> 00:09:10,840 Speaker 1: I'm watching your show from wherever else, you know, from Nigeria. Hey, 159 00:09:10,880 --> 00:09:13,200 Speaker 1: I'm watching your show from and it's just wow. 160 00:09:13,360 --> 00:09:13,600 Speaker 3: Yeah. 161 00:09:13,720 --> 00:09:17,280 Speaker 1: Netflix has allowed us to have like a global voice, yeah. 162 00:09:17,280 --> 00:09:19,800 Speaker 2: Which is yeah yeah, Losha. I'm so glad we could 163 00:09:19,800 --> 00:09:22,840 Speaker 2: speak to you this morning. Thank you so so much. Yes, 164 00:09:23,360 --> 00:09:25,400 Speaker 2: thank you so so much for your time. 165 00:09:25,559 --> 00:09:28,000 Speaker 1: Welcome, welcome, thank you. 166 00:09:27,760 --> 00:09:31,080 Speaker 2: Thank you so much. That is Loshaka, award winning actress 167 00:09:31,080 --> 00:09:34,240 Speaker 2: and dancer. You cast member for Fatal Seduction season three. 168 00:09:34,240 --> 00:09:36,240 Speaker 2: It's eight o'clock, so I'm for your latest I with 169 00:09:36,280 --> 00:09:36,840 Speaker 2: Listen News