TV Shows + Specials

Netflix Originals Everyone’s Talking About in 2021


With quarantine still ongoing, there’s not much else to do but watch Netflix. This list will give you a brief synopsis of Netflix Originals that have caught everyone’s interest. Hopefully, you’ll find a new show to binge!

Image Credit: Netflix

Bridgerton- This series is set during the Regency Era in England. It centers around the Bridgerton family as they introduce their daughter into society. However, an anonymous gossip column causes issues by revealing the community’s secrets. Bridgerton currently has one season out with eight episodes making it a quick watch. Following its debut, Bridgerton quickly became number one on Netflix’s Trending List. 

Image Credits: Netflix

Sweet Home- This horror series is a webtoon to live action adaptation. It follows a teenager who finds himself alone in the middle of an apocalypse. But, he makes allies and fights alongside them against monsters. Sweet Home currently has one season with ten episodes out and is trending worldwide on Netflix.


Image Credits: Netflix

Night Stalker- This docuseries is about notorious serial killer Richard Ramirez. Throughout the four-part series, two detectives are on the hunt for Ramirez as he terrorizes Los Angeles. This docuseries is a captivating watch especially, if you love true crime. (Be warned it is a bit graphic)

Image Credits: Netflix

Bling Empire- This reality show follows the lives of rich Asians and Asian Americans in L.A. It looks into the lives of the rich and how they deal with problems that they encounter. Bling Empire will also quickly become your next favorite if you enjoy shows like The Kardashians as well as The Real Housewives. 


Lupin- This French action and adventure series tells the tale of a thief who is on a journey to avenge his father. He uses his skills as a master of disguise to outwit the police that are on his tail. Lupin will certainly keep you on your toes throughout all five parts. Starring Omar Sy from the Intouchables, Lupin is definitely a must watch!

Image Credit: Netflix

Cobra Kai-  This Netflix Originals’ based off of the Karate Kid films. It gives audiences a look into the lives of their favorite Karate Kid characters years after the events of the last movie. Cobra Kai focuses on the children of the characters, Daniel LaRusso and Johnny Lawrence. Though the series may come off as a show for young adults, it can be enjoyed by all ages. Fans of the classic Karate Kid movies will surely enjoy the nostalgia this series brings. 

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Interview With Actress Patricia ‘Patti’ French: Discusses Hulu’s ‘The Act’, The Film Poms and Much More!


Patricia “Patti” French is a woman of many talents. She started an acting career in the theatre while also working as a voice-over talent. She later attended the National Shakespeare Conservatory in New York and hasn’t stopped acting since. Her TV credits are extensive, with each project being as recognizable as the A-list actors attached to them. This past year she was a part of the highly anticipated Hulu series titled The Act that details the real-life story of a toxic mother and daughter relationship. 

She most recently starred in a movie with film icons Diane Keaton and Jackie Weaver, titled Poms that hit theaters this past Mother’s Day. I had a chance to speak to Patti directly after its release in July. Patti is a woman of many talents and wisdom. Check out our conversation below: 


Clichè: Your most recent work is in the hilarious film Poms, growing up I read that you had a passion for music and dance. Were you a cheerleader in high school? 

Patti: I was not! Mostly because I was a navy brat, every two years I was going to a new school. To be a cheerleader and be apart of the clique you have to be somewhere for a long time. When my dad did finally retire it was right before my junior year. I was actually able to go to one high school for at least two years! In fact, I am getting ready to go to my 50th-year high school reunion! It’s the 50th anniversary of all the great things like Woodstock and the walk on the moon and my graduating from high school [laughs]. I was really involved with Glee Club and Drama Club. 

Your character in the film Phyllis, is described as pretty feisty, can you talk more about her? How similar is she to you in real life?

I think the things that are similar are she loves to dance, she loves music, she loves to hang out with a group of girls and she’s a team player. 

The film’s tagline is “It’s never too late to dream” and the film follows a group of women who revisit a dream of theirs that they never got the chance to fulfill. Did this film remind you or make you want to revisit anything you may have missed out on?

For me, it was always a dream for me to work with Dianne Keaton. She is one of my favorite actresses as well as Jackie Weaver. I’ve been a Dianne Keaton fan as long as I can remember. That was a dream come true! She was everything and more that I thought she would be. She did not disappoint. She greeted all the actresses on the first day of Bootcamp. She saw the film before everyone else and called everyone and was just so supportive. She’s a girl’s girl.

Alisha Boe, Patti French, Charlie Tahan, Jacki Weaver, Director Zara Hayes, Pam Grier, Diane Keaton, Celia Weston, Rhea Perlman, Carol Sutton, Ginny MacColl, and Bruce McGill attend the World Premiere of POMS at Regal LA LIVE on Wednesday, May 1, 2019 in Los Angeles, CA
Photo: Eric Charbonneau

Did you have a chance to tell her how much she inspired you or did you play it cool? 

I did play it cool but on the last day before we wrapped everyone was running around and giving each other gifts. I had taken all my gifts to the trailers and I took Diane’s gift but decided I would write it in a fan letter. I told her, “Hey, this is a fan letter and I just want to tell you the different moments in your films and how much they meant to me”, it turned into this four-page crazy letter. About an hour later I got this knock on my trailer door and it was her! She came in and she was like “I can’t believe you wrote all of that!” It was a lovely moment. 

The film has a few dance sequences, with your background in dance, did you have to rehearse? Your co-star Diane Keaton said she needed a lot of rehearsal practice. In some interviews, I’ve heard it described as boot camp.

Oh God yes! We all rehearsed the same amount. I was the youngest of the group and we’re 68! Everyone was going home sore with our hips and knees [laughs]. Boot Camp was a week in L.A. and we flew back to Georgia for filming and we had about 2 weeks of rehearsal. I actually wish there have been more dance footage in the film. Maybe it’ll be on the DVD! 

The main character in Poms, Martha, views going to a retirement community as “going to die”, it also addresses the idea of loneliness as we all get older, how do you relate to this film and how important do you think it is to have stories like this be told about women of a certain age?

First of all, I think it is important to tell stories about women of any age. If you study history and look back at older civilizations, the older women weren’t shunned, they were looked up to for all their wisdom. There is a lot of us baby boomers and they should be making movies for us because we’re the people that are going to the movies and paying for them. I just think of some of the things I’m watching now, Grace and Frankie, The Kominskty Method, some of the characters in The Marvelous Mrs. Masiol, there’s just so many great female’s out there and they’re dying to act no matter how old they are and I just hope somebody will just keep writing these stories. And apparently, it’ll just have to be the women! 

What do you hope audiences take away when they watch the film?

I think the thing I want audiences to take away is that a group of women can be very powerful and they can accomplish things that maybe they could not have done alone. That bond and that friendship and that girl friendship, you never grow out of that. It’s always there until it’s not. It’s not that way sometimes for men. I think we’re lucky that we’re able to vulnerable enough to go “Oh my gosh, I’m really scared. Am I going to be able to do this?” That bond is really important and so it the power of a group. With everything that’s going on now in Georgia and in the South, if us women don’t band together and figure out a way to activate ourselves as a group, it’s going to be really bad and we will be letting down the younger women that we made all these strides for. We need to bond as a group and not let people hold us down! 

The film came out during Mother’s Day weekend, do you have a favorite Mother’s Day memory?

I do! It would be this one actually! I wish my mother was still here to see it, but my daughter and granddaughter came up from Florida and we went to see the movie together and we spent Mother’s Day weekend together. My daughter wanted to take a selfie of all three of us together and a woman came up and said “I can take your picture! Oh, are you the woman that was in the movie?” It was nice. I may have had some other [great memories] and I sure as hell wish my mother was still here to see this but this is going to be my new favorite Mother’s Day! Oh, and then my husband cooked for all of us!

Patti French attends the World Premiere of POMS at Regal LA LIVE on Wednesday, May 1, 2019 in Los Angeles, CA
Photo: Eric Charbonneau

You also are apart of another project that everyone is talking about, The Act on Hulu that retells a very true and horrific story. You play Tina, before joining this project did you know the real story? 

I knew part of it but then I watched the HBO documentary, which is truly more horrifying than the mini-series. I think they did an amazing job making the mini-series watchable because it was almost impossible to watch the documentary. A pretty different Mother’s Day story. 

When you read a script, what pops up to you that makes you say “this role will be great for me!” what catches your eye?

Well, sometimes you don’t always have a chance to read the whole script depending on your role. But, a good story is a good story. 

Throughout your career, you’ve worked alongside legendary actors on TV and film sets, what has been your favorite moment on set? What has been the most important lesson you’ve learned from the previous projects you’ve been a part of?

I think the most important lessons are, you have to show up and you have to be brave. You can’t be vulnerable if you are not brave. You can’t worry about how you look and when you are really feeling self-conscious, just throw it away and concentrate on the other person. It leaves you in the moment and you are listening. 

Do you have any memorable stories from any set that you’ve worked on?

Some of them are on stage because I’ve done a lot of stage work. I was lucky enough to play Blanche DuBois in A Streetcar Named Desire and that was an amazing experience. A few years ago I was on a show on Lifetime called Army wives. What I loved about that was it was telling the story of military wives, because I know what my mom went through. There are always movies and stories about men in the military but it’s like a secret life unless you were raised that way, people don’t understand what the families go through. Like I mentioned earlier, changing schools, having to pack up 3-4 kids, spreading the money out, not being able to get a job. I didn’t realize it because it was my childhood, but I didn’t realize that it was a fascinating secret and life that people who weren’t raised that way, found it fascinating. I got to play this woman who owned this bar and she had a lot of things that happened to her. She had a bar that got bombed and she almost died and then she rebuilds the bar and she’s dying of cancer. She ends up leaving for this cancer center in California. There was a PR campaign with Warriors in Pink for Breast Cancer and FORD, so my character got to take off and drive off into the sunset in this amazing black mustang convertible with this pink heart painted on the front. And I got to do this pretty cool death scene which was pretty fun to do. [laughs] Actors might not tell you that, but we love to do death scenes! 

You have had such an extension acting career from tv, film, theatre, voice-over acting. Do you remember the moment you decided to be an actress? What was the first tv show or film that made you fall in love with the art of acting?

I sorta can’t remember not wanting to act. I think I was always in my bedroom in front of the mirror pretending. Always. My mom who was from Southern California was a movie freak. She was raised in the ’30-’40s the great Hollywood era and she loved movies and especially because my father was overseas a lot. I went to see a lot of movies with my mom when I was super young. I just loved that feeling of sitting in a movie theater with popcorn and being in the dark. My mom raised me on movies and movie stars. My mom was also a really good singer and dancer. I think she would have loved to be an actress. She didn’t get to see POMS but she saw a lot of the other work I’ve done and kept scrapbooks. I can’t remember not ever wanting to be an actress. I kept coming back to acting because it was the place where I felt the most like myself. 

Which has been your favorite character that you have played and why?

Blanche DuBois in A Streetcar Named Desire. It’s just an epic character for a woman. I just think I understand the kind of person that lives so much in her head and really loves beauty, literature and all of that but she’s is in total denial. She will do anything to survive because she has to, before she faces reality. I think I understand people who have a hard time with reality. [laughs] Maybe it’s me. When you play a really great character, you just want to play more of them!  

‘The Act’ is available to stream on Hulu. 

Poms is available for purchase now on DVD and Blu-Ray. 

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Interview With Actress Patricia ‘Patti’ French: Discusses Hulu’s ‘The Act’, The Film Poms and Much More!: Featured Image: Courtesy of Andrew Hreha/Status PR. 

Top 5 Reasons You Should Be Watching New Amsterdam


NBC’s new Fall show New Amsterdam is shaking things in the medical world. Taking place in the oldest public hospital in the country, New Amsterdam addresses the medical system and its broken state. Here are our top 5 reasons you should be watching New Amsterdam.


Not your Average Medical Show

This show is different from other medical dramas based on the first episode alone. When a new medical director, Dr. Max Goodwin (Ryan Egggold) comes to New Amsterdam, he shakes up the hospital in a new way. Max fires half of his staff and plans to improve the hospital by giving the doctors everything they want. It adds a new spin on how doctors and nurses operate and do whatever it takes to save their patient. But Dr. Max Goodwin has a secret of his own…cancer.


Dr. Max Goodwin

As stated before, Dr. Max Goodwin is the new medical director of New Amsterdam. Dr. Goodwin wastes no time tearing up the red tape keeping patients from the best care possible. Max is faced with one real problem after another and tries his best to save everyone that comes through the hospital. While trying to save his patients, Max needs to save himself when he comes to learn that he has cancer. Dr. Helen Sharpe (Freema Agyeman) constantly gives advice to him about treatment and you began to see a bond created between the two of them.



So far this season, there has been interesting patients that have come to New Amsterdam. The hospital takes on unique and emotional patients every episode like treating Ebola patients, prisoners, and the President of the United States all in one roof. There is wonderful interaction between the characters, and as the story weaves in and out of its various narratives, they all feel interconnected.


Real-life Issues

The caring psych boss Dr. Iggy Frome makes sure every one of his patients problems are solved every episode. Dr. Frome helps so many patients with issues from dealing with depression to finding a place to stay for foster children. He gets really invested in seeking help for others while trying to deal with his own personal problems when it comes to his partner and children. Every person somehow can relate to some of the issues that Dr. Forme and his patients face.



There is a romance in the hospital as Dr. Goodwin tries to win his pregnant wife back. From the first episode, Dr. Goodwin does everything in his power to get his family back together all while trying to deal with cancer. It’s a bit of a love triangle with Dr. Lauren Bloom (Janet Montgomery) and Dr. Floyd Reynolds (Jocko Sims) who romance takes various turns. Dr. Reynolds lets Dr. Bloom know that he sees a future with a black women. This creates a divide in their friendship as Dr.Bloom decides to introduce Dr. Reynolds to Evie (Margot Bingham). It will be interesting to see how all their relationship play out this season.


New Amsterdam takes a look at healthcare in a new way. There is still more to explore as the series has yet to discuss the exorbitant cost of certain medications, among other issues facing patients. It will be interesting to watch and see how and if that plot is probed further as the season progresses. New Amsterdam premieres Tuesdays at 10 p.m. ET on NBC, following This Is Us.



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Top 5 Reasons You Should be Watching New Amsterdam : Featured Image Credit: NBC 

’13 Reasons Why’ Season 2 Is A Pointless Follow Up


When 13 Reasons Why was first streamed on Netflix last year, it felt like a show like no other and made a huge splash. Now, a season 2 just got underway. But why? To be honest, it’s not even necessary.

Season 1 followed the journey of Hannah as she introduced people at her school—who were either partially or directly—responsible for her suicide and explained the reasons why. However, the season left viewers with some lingering questions. For example, would Hannah’s parents sue the school for their negligence or would they reach a settlement? Most importantly, though, who is responsible for Hannah’s suicide? This new season veers away from those untouched questions. What for?

Season 2 shifts its focus to the students on the tapes, and we start to realize there was more to Hannah’s story than just the tapes. Really? So, season 2 is not a continuation of the previous one. Rather it feels just like a reboot. In other words, both seasons are very similar. But, instead of building on the interest built by the first season, it makes a buzzing show become a dying show.

I must say, there is one difference between both seasons, though not a big one. In season 2, our central mystery is not what drove Hannah to kill herself, but rather who’s sending threatening notes to her classmates in order to prevent them from speaking out about those events. Interesting? Sure.

I’ll leave it at this: This new season just rehashes past events and proves to be more problematic than the previous one. So ask yourself, “Is it really worth my time to watch this second season? Or could I be doing something much more productive with my life?” I know what I would say.


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’13 Reasons Why’ Season 2 Is A Pointless Follow Up. Featured Image Credit: Netflix

Stranger Things 2 and the Invisible Hand of the Dudebro


WARNING: This article contains major spoilers for Stranger Things 2.

Beyond the flashier elements of demonic child possession and psychic tantrums, one of the more impactful scenes of Stranger Things 2 was a very quiet, understated moment. Overcome with loneliness and longing for Mike (Finn Wolfhard), Eleven (Millie Bobby Brown) risks safety to return to Hawkins Middle School. In a classic but infuriating trope, Mike just misses seeing Eleven in the hallway, with the two mere seconds and a head turn away from being in the other’s direct line of sight. Eleven finally spots Mike in the gym talking to new girl Max (Sadie Sink)of course, at the exact and only moment that their frosty interaction thaws just enough to be misconstrued as flirtation. Consumed by jealousy, Eleven uses her powers to make Max take a hard fall off her skateboard. Confused but unfazed by the sudden invisible force, Max explains to Mike that it felt like a magnet was pulling on her board. Eleven slinks back into the shadows glowering and devastated, and by the time Mike connects the dots and rushes outside, all that’s left to reunite with is an eerily abandoned hallway and self-doubt about his own grip on reality.


Eleven is crushed, assuming Mike has moved on with Max.

That scene really resonated with me for a variety of reasons, not only because it’s agonizing as a viewer who just wants Eleven to be happy, goddammit (El’s temper and occasional brattiness aside, Millie Bobby Brown really goes for broke in portraying the depth and nuance of her anguish with all the fragile hope of an abused 13-year-old desperately yearning for any scrap of affection in ways that systematically shatter every individual piece of your heart), but serves as a microcosm of all the problems with female characterization and interaction that this season had. Chief among them: there was barely any female/female interaction to begin with! Max doesn’t actually lay eyes on Eleven until the finale and receives a non-greeting so over-the-top passive aggressive that Max and Mike look like BFFs by comparison. Significantly for a show that seems to actively court and anticipate praise for having strong female characters, all of Stranger Things 2‘s female protagonists are isolated from each other to facilitate their respective male-driven subplots: El is hidden away clashing with new paternal figure Hopper (David Harbour) as she pines for Mike; Joyce (Winona Ryder) continues to fret over Will (Noah Schnapp); Max is unwittingly caught between Dustin (Gaten Matarazzo) and Lucas (Caleb McLaughlin); Nancy (Natalia Dyer) teams up with Jonathan (Charlie Heaton) to get #JusticeForBarb in what is equal parts fanservice and an elaborate pretext for them to finally hook up.

Max gets a cold reception from El when the gang finally reunites.

That’s where the dudebro starts to seep in. And, much like Eleven’s “magnet,” an invisible force seems to be conspiring to keep all the ladies apart. “Strong female character” has become so vacuous and watered down a term that it’s basically the media’s new dog whistle for “not like other girls.” It’s empowerment light for men who ostensibly support feminism but still can’t get enough manic pixie dream girl. The Duffer brothers have made it clear that Stranger Things is a love letter to their ‘80s childhood, and while I would stop short of claiming malicious intent or deliberate sexism in their writing, the thematic trends in gender interaction and apparent recurring impulse to keep female characters physically apart or antagonistic is baffling at best. On one hand, the very premise of this show is that a middle school boy finds a girl raised in a lab with zero social contact and hides her in his basement until they fall in love, so I understand handwaving a lot of things to enjoy the story, which I thoroughly do. On the other hand, having four main female protagonists share approximately two scenes together feels like the proverbial “bar” isn’t just on the floorit’s buried far underneath that damn cabin.

Joyce and Eleven share an emotional 20 second reunion, a painful reminder of all the sweet moments we missed out on this season.

Whether intentional or not, the fact that the writers seem to have all of the main women and girls on vindictive marionette strings is particularly frustrating because all of the actresses are phenomenal and their storylines would have so much potential if they were simply allowed to develop organically. Instead, the women and girls feel like they’re written by men who express a theoretical interest in complex female characters, only to lose interest as soon as those characters have a chance to develop outside of male/female dynamics. In other words, they’re aware female characters are important but they just don’t seem to know or care how they feel or interact with each other beyond buoying male protagonists. The deep aversion to allowing female characters to bond or even spend time in the same room together is especially bizarre, as the writers perform exhaustive narrative gymnastics to ensure that they stay segregated and polarized. At every opportunity for female independence or camaraderie, the invisible hand goes to work again. You thought Eleven and Max would be friends? (Imagined) romantic rivalry! You thought Max would be her own character with an autonomous arc? Love triangle! You thought that Joyce and Eleven would get to bond more and develop the maternal dynamic El craves? Break out everyone’s favorite Cabin of Boredom!

Remember when Max’s uncanny skill at Dig Dug felt like it would have obvious relevance to defeating the tunnel-based evil growing under Hawkins? And then it turned out to be a throwaway detail just to spark the boys’ infatuation with her? Good times.

Sadie Sink brings an unaffected swagger to the gang as Max, a tomboyish videogame aficionado who also skateboards. Yeah, I’m pretty sure her initial characterization is the kitchen sink answer to “how can we introduce a new girl that the boys would be both intimidated by and immediately attracted to?” Nonetheless, Sink gamely breaks into the ensemble, putting a sarcastic yet vulnerable spin on a guarded girl determined to hide her turbulent home life at the hands of her abusive brother, Billy (Dacre Montgomery). Unfortunately, Max is engulfed by El’s shadow from the second she arrives, and Mike’s hostility towards her does no favors in propelling her above being perceived by both the audience and the narrative itself as an obvious El placeholder. In spite of all her “cool girl” bells and whistles, poor Max is soon reduced to a manic pixie trojan horse in tomboy’s clothing. She predictably becomes a source of romantic conflict between Lucas and Dustin, ultimately choosing Lucas so that 1) Dustin can continue serving as comic relief and go off on his marvelous Steve subplot and 2) the writers could get out of giving Max or Lucas  actual storylines of their own, I guess? While the Duffer brothers achieve their stated purpose of making Billy a human antagonist, the abuse plotline also quickly runs out of gas in terms of giving us much insight on Max, as she merely illustrates the extent of Billy’s controlling nature.

Dustin and Lucas happen to witness Max and Billy fighting while secretly spying on her with binoculars. Filed under: quirky ’80s tropes that have not aged well in a 2017 context.

The similarities between Max and El make the deliberately avoided opportunity for friendship all the more disappointing. If anyone would be able to understand each other, it’s these two (we’ll get to Kali in a minute). They’re both outsiders who have never had a stable home life or consistent group of friends. They’re both physically and emotionally abused by male familial figures who wield a disproportionate amount of power over them. They should be the two with the strongest friendship in the entire party! Yet El, who presumably has hardly seen a girl her age for almost a decade, immediately views Max as a rival because the writers are incapable of writing girls as anything other than love interests or vehicles of self discovery for the boys she smiled at her crush. And look, I get that Mike was the first person to show her kindness and middle school infatuation runs deep. It would be fine if it was just a throwaway moment of preteen angst, but El’s icy staredown of Max’s earnest attempt at a handshake indicates that this tired conflict could be dragged out into next season. It’s arguably one of the few plot points that doesn’t actually hinge on a real love triangle and the girls are still divided over it! Plus, it’s been pointed out that Lucas and Dustin had several episodes to explore and resolve their rivalry, whereas Max and El have to settle for one unsatisfying scene of the silent treatment.

My face each time I realize we’re still wasting scenes in this cabin-shaped shallow grave of narrative momentum.

Which brings us to the dreaded Cabin of Plot Purgatory. Even Millie said they were the most boring scenes to film because she was by herself doing an endless loop of repetitive activities, which is coincidentally an accurate description of how I felt being forced to watch scene after scene of her sitting alone in this godforsaken cabin. It’s both telling and symbolic that the writers have to lock Eleven up because they, like Hopper, have no idea what do with her now that she’s separated from the boys, effectively benching her from the narrative until she’s required to close the gateminus a few underwhelming side quests. Luckily, Hopper pops in occasionally for some drive-by character growth and to learn how to be a dad again. The chemistry between David Harbour and Millie Bobby Brown is undoubtedly one of the highlights of the season, but again, I wish it wasn’t at the expense of keeping El isolated for so long.

“Listen kid, if your idea of sisterhood involves not immediately being recruited as a child assassin, you need to speak up now.”

Notably, the times when she disobeys Hopper’s instructions and leaves the cabin are all instances of bitter disappointment at the hands of women. The first time is Flirtgate and the second is when she runs away to find her biological relatives and hang out with her superpowered sister, Eight (aka Kali, played by Linnea Berthelsen) in Chicago. The heartbreak is swift and manifold: she finds her mother lobotomized; she discovers her aunt reporting her to the authorities; it turns out Kali wants to weaponize El’s powers for her own benefit. Kali is weirdly cold and outright abusive to El for the amount of time they hyped up their alleged psychic connection, especially since she is the only person in the Stranger Things universe thus far who could fully empathize with El, doubly so because they spent time together in the lab as small children before a supposedly traumatic separation. Every time El reaches out to a woman in her life for comfort or support, the narrative slaps her wrist and punishes this optimism with escalating betrayal and manipulation. To be clear, Eleven was raised in a lab and tortured by men her whole life, escaped to the woods and then conveniently found more than a half-dozen male characters to befriend without issue, but somehow women are the ones she needs to learn to be suspicious of? Sure, Jan. El is so deeply disillusioned following her encounter with Kali (and a hackneyed Breakfast Club makeover) that she hops a bus back to Hawkins to fulfill her true destiny as an on-call dues ex machina for her embattled lads.

I recognize that Stranger Things is, at its core, a nostalgic reflection by the Duffer brothers on their own childhood and perhaps who wish they could’ve been or become. But if the boys can be the heroes of their stories, why not the girls? If Hopper can find renewed purpose after grief and Will can fight a demon from the inside and reformed douchebag Steve can help Dustin gain self-confidence, why can’t Joyce and Max and El have the same depth and complexity to their journeys?  And why on Earth wouldn’t they lean on each other? Yes, they are all superficially involved saving the day, but the road to get there relegates them to passengers of their own narratives. Surely government conspiracy and imminent apocalypse trumps shipping and love triangles.  

For a show where the fate of humanity hangs on the intervention of a young girl, we could certainly use a little more girl power.

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Stranger Things 2 and the Invisible Hand of the Dudebro: photographs courtesy of Netflix

Recap: “Younger” Season Four Premiere


The following contains spoilers from the Season Four premiere of Younger.
Younger, for those unfamiliar with the show, is about a 40-something-year-old woman named Liza Miller (Sutton Foster) who has just separated from her husband and is looking to get back into the workforce she left to raise her daughter. When she is honest about her age, she received nothing but closed doors, but when she reaches the publishing firm Empirical Press to apply for an assistant position, she pretends to be 26 and lands the job. Thus, her life has been a series of elaborate and not so elaborate lies to keep the truth hidden ever since.
When we last saw Liza during the season three finale, the life she’s spent so long trying to protect was falling apart. Her boyfriend, Josh (Nico Tortorella), had just broken up with her though he was planning to propose, after seeing her kiss Charles (Peter Herman) in the Hamptons. They have one of the most emotional and heartbreaking fights of the season as Josh calls her out deservedly on her lies and her behavior. After losing her boyfriend, she decided to come clean to her work best friend, Kelsey (Hilary Duff) about her real age, daughter, and second life outside of work. Season three closed with this reveal and Kelsey feeling betrayed by one of her closest friends.
In the season four premiere, which aired last night, we see Kelsey walking down the street, suitcases in hand, reliving the explanation that Liza gave her for why she lied. On top of that betrayal, Kelsey finds out that Liza bought a book that she specifically asked her not to buy in order to keep her age a secret.
Meanwhile, Kristin Chenoweth shines in her guest spot as a confident and flirtatious woman who is pushing a book wherein the truth is subjective, operating under the belief that if you say something loud enough no matter what it is, it can be true. For the sake of their millennial imprint, Kelsey implores Liza to keep her secret from their bosses, Charles and Diana (Miriam Shor), leaving Liza to believe that Kelsey has forgiven her—that is, until later at the “29 under 29” Entertainment Weekly party that they strong-armed their way into. When Liza confesses her relief at Kelsey’s forgiveness, she learns that their comradery in the party was just business for the imprint, and Kelsey feels that Liza broke her heart and can never be forgiven. Shortly after, we learn that Kelsey has moved in with Liza’s ex, Josh, which is sure to create even more drama for the show that started out its fourth season with a bang.
What did you think of the Season Four premiere? Let us know in the comments below!

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Younger Season Four Premiere: photos courtesy of TV Land

“Girlboss” Takes Time To Trend


Girlboss, the Netflix series loosely based on the Sophia Amoruso autobiographical novel of the same name, starts off slow and irritating but gradually transitions to a decent Netflix binge. The series, directed by Pitch Perfect’s Kay Cannon, centers on Sophia Marlo, a millennial misfit who finds a passion for fashion and starts her own online fashion business known as Nasty Gal. Through this process, she transforms into a businesswoman and her own boss over the two years that we follow her. As she figures out her unstable life as a boss, however, she learns to endure and survive maintaining a business.

The most distinct aspect of the season was the unique and rebellious set of characters played by a great set of actors. Tomorrowland actress Britt Robertson’s portrayal of Sophia is at first extremely irritating and almost oblivious to others’ emotions. However, through each episod, Robertson gradually increases her likability and gives viewers reasons to root for her in her many endeavors and the obstacles she faces when running her own business. Sophia’s BFF Annie (played by Ellie Reed) was a standout in this series; Reed gave such an incredible combination of relatability, humor, and trust to Annie that I could not help but feel envious that she was not my best friend. Annie provides such support and compassion to Sophia that without Annie, Sophia and her business could not progress.
A surprising addition was Sweet Home Alabama’s Melanie Lynskey, who plays Sophia’s taciturn fashion frenemy, Gail. Lynskey presents a gentle, socially awkward and significantly vulnerable woman with Gail that juxtaposes Sophia nicely. Other noticeable mentions were Community alum Jim Rash, how plays a seemingly dull, comedic, and indifferent fashion store owner and Shane, played by Johnny Simmons, who plays Sophia’s slick and collective boyfriend.

The overall plot of the series spans across two years of Sophia’s life with her initially surviving and then thriving in the city of San Francisco. At first, the plot was a little slow. I felt the first two episodes could have used greater traction. At the beginning, Sophia’s jerkish and anarchist personality did not seem appealing and the lack of direction made me continually wonder where the plot was going. The plot becomes intriguing when Sophia’s past is revealed and there is more insight about her personality and the personality of other characters. The plot truly falls into place around the third episode where certain interactions and distinct personalities come into play.
Fashion is a good tool, but not entirely represented in the series. The business aspect of fashion may be reflected, but the creative side less so. It would’ve have been pleasing to see the creativity of fashion highlighted in more ways especially during the beginnings of Nasty Gal. If there could have been more dialogue on Sophia’s process for her ideas of fashion rather than mainly discussing the inventory of her fashion, there could be a deeper sense of her intellectual sense of style. If there was an equivalency of business and creativity in Sophia’s fashion business, then I feel the true sense of her company could have been better projected. The fashion of the characters, specifically for Sophia, shows the slow progression of her successes at first with outfits that seemed forced together and then outfits that look better and more beautiful on Sophia. The clothing styles of many of the characters seemed to show the personalities of the character, but both Sophia and Ellie’s style most represented how clothing can be vital to a character’s personality and thoughts.  
The dialogue of the series is snappy, quick, and quirky. It is rife with early 2000s pop-culture references such as The O.C. series, MySpace, and Annie’s predilection for Britney Spears. It shows the particular personalities of each of the characters while also creating believable and well-connected conversations between the characters.
The music features artists such as Otis Redding, Modest Mouse, Passion Pit, and much more, and emits the emotional climate of each scene and joins well with the characters’ personalities. Certain clear negatives are that this show might not be suited for every audience. Others might find that there were overly awkward moments where Sophia deliberately blocks out social situations that leaves her a little irritating to watch. The show may begin slow and uneven with a frustrating main character, but the inner stories about how Sophia and Annie became friends and how Sophia was living and reacting prior to the beginning of her business does help move the show along.
The series shines with its spectacular actors, central plot, witty dialogue, and well-planned songs. The uneven structure of the plot and the inability to show the full range of the creativity and business aspects of fashion leave Girlboss with the grade of a B+.
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“Girlboss” Takes Time To Trend: Photograph courtesy of Netflix

Iron Fist Review: Barely Had Any Power in Its Punch


This latest Marvel Netflix show before the culmination of these Marvel shows with The Defenders was definitely built on a significant amount of fan hype and justice for the comic book character. Unfortunately, the martial arts superhero show barely had any power in its punch coming off with some decent action sequences and a good supporting character but overall leaving a very lackluster, dull, and structure-less taste.

This Netflix series centers on the return of Danny Rand to New York City after being missing for 15 years; he has transitioned from a billionaire’s son into a Buddhist monk who tries to reconnect with his family and his company, Rand Enterprises. However, once he discovers a dark force damaging everything that surrounds him, he must use his mastery in martial arts and the power of the Iron Fist to stop them. This series could have possibly gone a unique route that differentiated itself from the other Marvel Netflix shows and Batman-like superhero stories where a white billionaire becomes the superhero, however, it follows almost the same path as those other.

Game of Thrones 
star, Finn Jones’ portrayal of Danny is somewhat decent but irritating. Even though Jones is able to show Danny’s selflessness and determination in each episode, his characteristics are uneven. He becomes very aggressive, stubborn, and single-minded and these characteristics do not seem to meld well with his more positive characteristics leaving his character development half-fleshed out. Other characters such as Joy and Ward Meachum, siblings and heads of Rand Enterprises, played by Jessica Stroup and Tom Pelphrey are not fully developed with Pelphrey’s Ward being trapped in a repetitive family conflict and having dull characterization. Stroup’s Joy has some development but yet again development it is not fully cooked. The siblings’ mysteriously malevolent father, Harold Meachum played by David Wenham barely seemed to have direction and even though Wenham showed some good aspects of a damaged father his instability left the character without any true development or significance.
The one good supporting character of the series was struggling sensei, sword-wielding heroine, and love interest, Colleen Wing played by another Game of Thrones star, Jessica Henwick. Henwick’s portrayal had some decent development and her caring, determined, and damaged personality could be seen. Henwick was also able to have good action sequences that highlight the effort she put into the character. The problem is that viewers might want to see more of Colleen and less of Danny, which leaves an imbalance in the story.
In terms of story, there seemed to be structure with the early episodes, which encompassed the first half of the season, feeling dull and tedious to watch. There was not a clear villain or a clear central focus to the story and it would have random spurts of action. The last half of the season also felt dull and was left with no significant climax to the story. Dialogue was also very weak and seemed underdeveloped.
The show’s action sequences appeared very rehearsed and it was clear that Jones had memorized certain fight patterns, which did not give off the impression of a fully realized martial arts master. This left the show’s quality in action sequences seem unrealistic and not equivalent to the quality of other Marvel Netflix shows.
The weak quality in character development, story structure, dialogue, and action made me feel disappointed that the show could not reach its full potential, which leaves it with a C-.
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Iron Fist Review: Barely Had Any Power in Its Punch. Image courtesy of Netflix. 

Does Netflix Have More ‘Gilmore Girls’ in the Works?


Last November, Netflix dropped viewers back into the quirky little town of Stars Hollow and the lives of our beloved Gilmore Girls, Lorelai and Rory (Lauren Graham and Alexis Bledel). In the much-anticipated revival, Gilmore Girls: A Year in the Life, fans were given another chance to live vicariously through the fast-talking mother-daughter duo and the crazy antics of the world they live in.

Image courtesy of Netflix

Following the release of the revival episodes, Netflix tweeted a cryptic photo that brought us back to April Nardini’s science fair project and begged the question of who exactly is the father of Rory Gilmore’s future child.
This tweet already had fans questioning whether it was simply Netflix trying to be funny or a subtle hint at another “Year in the Life” to come. Recently however, Netflix has released even more information that has us all squealing. Netflix Chief Content Officer, Ted Sarandos, told the Press Association earlier this month that there are talks of more seasons in the Gilmore’s future.
“We obviously loved the success of the show and fans loved how well it was done,” Sarandos said. “It delivered what they’d hoped…people were really excited about more and we have been talking to [Creators Amy Sherman-Palladino and Daniel Palladino] about the possibility of that.”
Back in December, closely following the release of the revival, Sherman-Palladino stated that she and her husband “pitched this as ‘This is a year in the life’. This is the way it was ending.” However, the two were not opposed to the idea of more in the future.
Many cast members agree on this notion. Kelly Bishop, who played the feisty Emily Gilmore, said that she would “work with Amy any time” and Scott Patterson also stated that “it’d be nice to do every year.”
Many of the characters have moved on to their own post-Gilmore Girls projects but we’re sure they could squeeze in a vacation to our favorite Connecticut town.

Image courtesy of IndieWire

Milo Ventimiglia, who is now starring in the NBC hit show ‘This is Us,’ is the only cast member so far who has stated opposition to more in the series saying, “I think the stories were told…it was great for the fans to get just one small taste of that world again.” With this statement, it is safe to say we can rule Jess out as Rory’s baby daddy.
Though Sarandos called the talks of another season “very preliminary” the cliffhanger “A Year in the Life” left us on, it seems like the Palladinos may have something cooking up for us in the future. We shall see what they have in store for us, however, with the release of these statements we can’t help but begin to count our chickens!
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Does Netflix Have More ‘Gilmore Girls’ in the Works? Image courtesy of Yahoo/Netflix. 

The Young Pope: A Ridiculous Premise Crazy Enough To Demand Viewership?


The world of Catholicism, entrenched in striking symbolism and ornate rituals, is frequently showcased in the horror genre. HBO’s “The Young Pope,” which premiered in the U.S. on Jan 15, with episodes on Sundays and Mondays, offers just a small dose of horror with a heap of absurdity. The show is shot like a trippy dream, with a script that veers from dry humor to theatrical drama.

The ten-episode series begins after Lenny Belardo, played by Jude Law, is elected pope. Young and a complete unknown shrouded in mystery, the titular character is this horror story’s villain. Or at least we think so. It’s impossible to tell whether Belardo is a victim who lost his belief in God or if he is a self-motivated monster. At any rate, he is an entertaining, cherry coke drinking, handsome, chain-smoking schemer that right off the bat establishes alliances in the Vatican. One being his rather un-Catholic agreement with the impressionable Don Tomasso, to whom Lenny promises a cardinal position in exchange for information, essentially convincing Tomasso to break his vows as the Vatican’s confessional priest.

Belardo takes the name Pius XIII, which is cause for concern to the cardinals, foreshadowing the new pope’s legacy will be a dark one. An abandoned child, Pius was raised by a nun (Diane Keaton) in a catholic orphanage; we get the feeling that he has seriously unresolved issues. It’s clear that Lenny’s modus operandi is to act alone for his own interest and he is prepared to bulldoze all who oppose him.

Perhaps the most bizarre aspect of the show is that the fresh-faced, seemingly modern Pius turns out to be utterly medieval in his beliefs. Pius declares the church has become too tolerant when he delivers his chilling first speech to a shocked and defeated crowd of onlookers. His first public interaction is not the anticipated loving introduction, rather he uses the opportunity to scorn his followers. “You have forgotten God!” he announces, declaring that his papacy will abandon the warm and fuzzy approach to Catholicism. “You need to know that I will never be close to you,” he says before storming off the balcony. “I don’t know if you deserve me.”

Even when “
The Young Pope” is bad, it’s still pretty good. It’s hard not to be entertained by its outlandishness. When it’s good, it’s far from perfect but is gorgeous to watch. Although uncomfortable at times, it’s hard to look away. Sorrentino, the creator and director, composes shots and manipulates lighting artfully. Each scene is unexpected and lush.

Regardless of the politics and scheming that feel familiar (“
House of Cards,” anyone?), “The Young Pope” offers something unique to premium television: dreamy beauty and larger than life characters juxtaposed with banal humanity. It’s both heavy and light with a plot so unreal in a world we never get to witness. It’s a genre of its own. Sure, it’s fodder for online memes, but it’s also a gorgeous nightmare within a dream. Bring on the bombast, just don’t wake me up.
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The Young Pope: A Ridiculous Premise Crazy Enough To Demand Viewership? Photo courtesy of HBO

The Highs and Lows of ‘Hairspray Live!’


With Hairspray Live! being both a movie musical and a broadway musical in the past, there were a number of different interpretations to choose from. Would the acting for Tracy be more of a Ricki Lake, Nikki Blonsky, or Malissa Jared Winokur? Would Link be more Zefron or Matthew Morrison? Queen Latifah or Ruth Brown as Motormouth Maybelle? Or would the actors take the characters and make them their own? All in all, it was a fun remake. Here are the weakness and highlights of Hairspray Live! 


HAIRSPRAY LIVE! -- Pictured: (l-r) Garrett Clayton as Link Larkin, Maddie Baillio as Tracy Turnblad -- (Photo by: Justin Lubin/NBC)

(Photo by: Justin Lubin/NBC)

As with most remakes, there’s always going to be comparisons to be made. The actors who played Tracy, Link, Amber, and Penny weren’t bad exactly, but they were missing something that made the other interpretations interesting. Looking at Garrett Clayton’s Link, I didn’t get the classic “teen heartthrob” vibe. I didn’t understand why Tracy or the other girls went wild over him. Though, to be fair, I was a bit biased because his intro left something to be desired. Zac Efron’s “And I’m… Link” complete with Elvis hip movements in the movie will always be tops for me.
HAIRSPRAY LIVE! -- Pictured: (l-r) Ariana Grande as Penny Pingleton, Maddie Baillio as Tracy Turnblad -- (Photo by: Justin Lubin/NBC)

(Photo by: Justin Lubin/NBC)

Tracy also didn’t seem to have the same bold personality. She seemed like what Penny was supposed to be, and Penny seemed like Ariana Grande’s character Cat Valentine from Victorious, spending most of the show randomly running away and being a ditz. Also, the only moment that was really memorable for Dove Cameron’s Amber was a pretty run she hit during “Mama, I’m a Big Girl Now.”
HAIRSPRAY LIVE! -- Pictured: Derek Hough as Corny Collins -- (Photo by: Justin Lubin/NBC)

(Photo by: Justin Lubin/NBC)

Derek Hough’s Corny Collins suffered from the same problem as Clayton. Technically, he was good. He managed to hit his notes, and dances at the same time, but he lacked the charisma of James Marsden’s Corny Collins.
HAIRSPRAY LIVE! -- "Production Screen Grabs" -- Pictured: (l-r) -- (Photo by: NBC)

(Photo by: NBC)

Anytime Jennifer Hudson’s Motormouth Maybelle was on screen was a highlight. Not only did she blow the roof off every single song (“Big, Blonde, and Beautiful” will always be an extreme hype song), but she looked beautiful, especially in the gold suit during “You Can’t Stop The Beat.”
HAIRSPRAY LIVE! -- "Production Screen Grabs" -- Pictured: (l-r) -- (Photo by: NBC)

(Photo by: NBC)

Kristin Chenoweth, who could sing the phonebook and sound gorgeous, added extra energy to any scene she was in. Shahidi Wright Joseph’s Lil Inez came to show off during her verse in “Run and Tell That!” and I loved when she tried to snatch Amber’s crown during the ending scene. Ephraim Sykes’s performance of “Run and Tell That!” was also extremely well done, even if he was a little bit behind the beat in the chorus.
“You Can’t Stop The Beat” is always a highlight, and the live cast didn’t disappoint. Edna and Wilbert’s romantic “You’re Timeless to Me,” the high-energy “Welcome to the 60s” featuring the original Dynamites, and “Mama, I’m a Big Girl Now” were also highlights.
What did you think of the show? Let us know in the comments!
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Why The Gilmore Girls Reboot Should Be #1 On Your Netflix Queue


I vividly remember the moment that Gilmore Girls ended.

It was spring of 2007 and Samantha’s living room was cluttered with a scattering of used tissues, empty take-out containers, and pairs of mothers and daughters with red-rimmed eyes. For those 42 minutes, the room, tucked away in a small Connecticut town much like our beloved Stars Hollow, remained completely silent. Well, silent apart from the rapid-fire dialogue and infamous ‘La La’s bellowing from the TV in front of us one final time.
As that crane shot pulled away from Luke’s Diner and the screen faded to black, I couldn’t comprehend it. I knew all things had to end at some point, but as the living room re-awoke, I couldn’t find the words. Emma was the first to break the silence, uttering a simple, slightly cracked: “that’s it?”
That was really it.
No more Lorelai. No more Rory. No more crazy Kirk or overzealous Paris Geller. It was the first of many TV-related heartbreaks that I’ve since experienced over the past nine years.
Gilmore Girls was the first show I fell head over heels for. The love affair started one particularly brisk snow day in sixth grade. My mom and I had burrowed ourselves into her bed, armed with hot chocolate and freshly baked cookies, and watched the entire first season on box set — an impulse purchase from FYE the week before. I guess Lorelai was right: magical things do happen when it snows.
Gilmore Girls
That Hanukkah, Mom got me the next four seasons. Although, realistically, the present was as equally for her as it was for me. Together, we powered through five seasons ahead of the season six premiere, binge-watching like champs before binge-watching was even a thing.
As I made my way through high school and then college, Gilmore Girls became a staple in my life, a show I’d always go back to when I needed something familiar or a new perspective on a situation. I swear, there is a Gilmore Girls episode for everything in life if you look deep enough.
What I always loved about this show, aside from the pop culture references, quick-fire jokes, and natural chemistry between the cast, was that the characters weren’t perfect. All three leading ladies are extremely flawed, but you love them anyway. Yes, Rory is spoiled and at times entitled (and at 32, still is), but she’s also ambitious, a hard worker, and a go-getter. Instead of making her idealistic, she feels real. That’s probably why I’ve spent my life unintentionally emulating her fictional one–both in her successes and in her mistakes. Well, aside from stealing a yacht; I never did that.
More than that though, the moments that have stuck with me (and have also become ingrained in collective pop culture history) aren’t an assortment of big, overly dramatic situations, but rather small, human, flashes that are so relatable you can’t help but laugh or cry along with them — “I’m ready to wallow now,” anyone?
So, in January 2016 when Netflix officially announced Gilmore Girls was coming back for the revival, it’s safe to say I had a little bit of a moment. And by a little bit of a moment, I mean I texted my roommate not to be alarmed if she walks in and finds me in the fetal position “because Gilmore Girls is being resurrected.” Then, I proceeded to cry into the rice pilaf I had been making before I heard the news.

What I always loved about this show, aside from the pop culture references, quick-fire jokes, and natural chemistry between the cast, was that the characters weren’t perfect.

The next 11 months felt like nothing but a countdown to the moment I would look on Netflix and see ‘New Episodes’  under the Gilmore Girls picture. When the day finally came, my mom and I took our seats on the couch, shunned my dad and brother (who had been home for two days from college) from entering the living room, and forbid them from speaking in any audible tone. Then, we took our trip back to Stars Hollow.  
Winter, the first of the four 90-minute episodes, opens with an audio collection of best moments and greatest lines over the names of the core cast. Then, came the ‘La La’s’ which lead into the Stars Hollow sign and a happy Lorelai sitting on the town’s beloved gazebo surrounded by snow, waiting for Rory. I’ll admit, the first 15 minutes or so are a bit rough as the cast finds their footing again. But, as you reach the 20-minute mark, all the awkwardness disappears and we’re back in their world, and being introduced to Paul, Rory’s nice, considerate, but forgettable boyfriend who becomes a running joke throughout all four episodes. Of course, this was a shock to many fans, myself included, as no one could picture Rory with anyone besides from Dean, Jess, or Logan. Which, *spoiler* given her controversial affair with Logan, I guess she also agrees with.
In comparison to other revivals of beloved shows like Full House or Boy Meets World, the focus isn’t on nostalgia. There’s no throw in of random catch phrases and limited reminiscing on the old series; the fully formed world is enough of a satisfying callback and, thankfully, the writers realized that. It feels like we just picked up where we left off, as if these people didn’t lay idle in the imaginary land where characters go when their shows are canceled but rather, continued on with their lives and we’re just catching up to them now.
Unlike that time the writers of Girl Meets World tried to make Topanga Lawrence own a bakery (as if that would have fulfilled her), the characters’ positions nine years later make total sense to who they were. For example, Paris, who was famously pre-med but terrified of sick people, now owns and runs a successful fertility and surrogacy clinic. Or, Logan for instance, has given up his spoiled rich boy antics and joined the family business, which again, makes total sense for his pre-established trajectory. Although a self-proclaimed sell-out, which acts as an evident parallel to Rory’s father Christopher, he’s still the loveable, selfish, and spoiled party boy he always was. As for Kirk? He’s still… as unique as ever.
The revival goes deeper than the original series ever did, which probably connects to how television has evolved with streaming services and the monumental budget this was given. Everything we loved about the original is bigger; the funny moments are laugh-out-loud funny and the sad moments are gut-wrenching. It reminded me time and time again why I loved these characters so much.
While the entire four episodes neared perfection, there were a couple things I could have done without. For one, that stupid ‘Stars Hollow Musical.’ While the moment in Summer where Lorelai breaks down to a song called ‘Unbreakable’ from said musical was beautiful, the fifteen minutes prior that was dedicated to it was a waste of screen time. With only six hours to spend with the characters so many loved, most of that musical time should have been dedicated to another moment between say, Jess and Luke or Lane and Rory.
On top of that, while I loved Emily’s transformation through the grieving process following Richard’s death and her reconnection with Lorelai, I just don’t know if I can really see her giving up her lifestyle of 50 years in Hartford society to become a tour guide in a whale museum. Has she ever mentioned a love of aquatic life before? I mean, hey, it is a total departure from everything she’s known and that’s an exciting new adventure she can go on, but I don’t know… whales?
As for that ending? Sure, a lot of fans were mad but honestly, I’m on board with it.
Beware, MAJOR spoilers ahead.
Amy Sherman-Palladino, the mastermind behind this masterpiece, has famously been holding on to the “last four words” since the show’s conception. At the conclusion of Fall, we finally heard them: Rory’s pregnant. And, chances are it’s Logan’s.
I think that that is the most perfect ending we could have hoped for. It leaves room for there to be more should Netflix, the cast, and the writers see fit. But, it also acts as the closure to one rotation of life cycle and leaves their world, again, able to continue on without us.
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Photos: Entertainment Weekly and Netflix