When you love entertainment as much as I do, you sometimes get to a point where you want to drown yourself in it. That sounds hyperbolic, but it’s also sort of true. I get that way around award season or after a particularly explosive season/series finale—case in point, last month’s horrific Walking Dead cliffhanger. I got sucked down a vortex of theory discussions and YouTube clips, which led me to watching one too many supercuts of Norman Reedus being absolutely hilarious (and adorable) when not in character as our favorite crossbow-wielding badass. (Does this sound tempting to you? Enjoy.) Needless to say, my crush on Norman came bubbling to the surface once again, knocking the other boys out of the playground for a while.
You’d think that was how I stumbled across this upcoming event showcasing said badass, but it was actually a happy coincidence that came as the result of a job application and some brief research. I won’t bore you with details, but it was some very random luck indeed that led me to the announcement of Norman’s appearance at the 5th annual Montclair Film Festival. My only concerns were what day of the week it was (Saturday) and how much tickets cost (next to nothing). Talk about lucky. After determining that the place was within driving distance—TAKE MY MONEY. In fact, I did something I’ve never done before: whipped out my credit card and immediately bought two tickets, with no hesitation or thought as to who might go with me. Continue reading →
I was hesitant to give a Netflix original a try back in 2013, but when the buzz around “Orange is the New Black” became too loud to ignore, I was swayed to appreciate the brilliant concept streaming really is: Consumers like it because of the lack of annoying network regulations and censorship, plus no commercials, and the ability to devour episode after episode without waiting a week in between (thanks to Netflix for that; other platforms like Hulu lack that particular perk). Showrunners probably appreciate the flexibility and innovation. And Netflix, well they get to see their numbers start shooting up because no one wants to be left out when the hype starts circulating about an awesome new show, so they hurry to sign up. Without delving into too much research, I believe Netflix was the first to offer streaming-only television. Now Hulu and others like Amazon Prime and HBO Go have jumped on the money-making bandwagon. I haven’t strayed too far from Netflix because it’s still top banana in my eyes, but I may have to make an exception soon to check out Aaron Paul in “The Path” (Hulu).
Anyway, the list of Netflix originals started small and has significantly expanded over the past couple of years and within the past few months, I’ve finally started to branch out and try a few more. Some of the newer ones with short episodes and truncated seasons take barely a day to watch. Others are more of a long-term commitment. And many are pleasant surprises. Below is a sampling of the ones I’ve tried so far and where they rank in my personal opinion.
The OG of Netflix originals. I was hooked instantly on the story of Piper Chapman, a wealthy good girl whose brief stint as a drug mule catches up to her just before the statute of limitations reaches its cut-off. She winds up having to leave her fiancé and incredulous family grappling with many questions and a slight inability to cope with these revelations as she enters a women’s prison in upstate New York for 15 months. What ensues is a very real, scary, uplifting, unflinching, funny, and sometimes heart-breaking look at life as an inmate. I read the biographical tale on which the show is based and was impressed with how the smallest paragraph in writing became a running theme for an entire episode on screen. I love learning the backstories of these incredibly complex characters. The show does hit some speed bumps, particularly as the seasons go on, but it still has that X factor that keeps you coming back for more. It’s also morphed into an all-out event that keeps viewers itching with anticipation. When season 3 was released a day early last year, the social handles for the show knowingly acknowledged that people would be devouring it all on the spot, tweeting out questions like, “Who’s still with us?” at 4 a.m. with winking emojis. It’s fun to feel like you’re part of a collective watching party and few shows elicit that vibe the way OITNB does. Continue reading →
“Nobody at work knows this, but … I’m not 26. I’m 40. […] and I have to make myself invaluable before anyone figures it out and I become a think piece on Slate.”
We heard that, Liza! What’s old is new again over at TV Land and not just in their relentlessly lauded new program “Younger.” The network officially announced its rebranding last summer, rolling out fresh original series aimed, they say, at Generation X. They marked the launch with the Darren Star dramedy, which tells a parallel story of revamping image for professional gain. When Liza Miller (Sutton Foster) attempts to re-enter the work force after taking a 15-year hiatus to raise her child, she’s abruptly faced with the harsh reality of today’s job market—you’re either too young and therefore inexperienced or too old and therefore overqualified.
While it’s highly unlikely that this particular plot would be feasible in reality (social security numbers are a thing, people), it does beg the question: To what lengths are people willing to go to find work that’s meaningful to them? Liza Miller, fictional as she may be, probably could’ve found employment somewhere at age 40, but she has her heart set on returning to an industry she loves. In a highly competitive market, especially found within publishing/media, would she have managed to convince a company to let her start “anywhere,” even if that meant being the only assistant not straight out of college? Where is the happy medium between inexperienced and overqualified? Does it even exist anymore? Continue reading →
Even though I’ve only spent a couple of short months in a real hustle-and-bustle newsroom and never at a major paper, I still get really amped when I watch movies about that kind of setting. It takes me back to when I worked for my college paper—the Spotlight team’s tiny room sectioned off from the rest of the staff made me nostalgic for our tiny computer lab in the basement of the student union, heavy with the scent of newsprint and stale coffee.
Spotlight truly deserved its Best Picture win—what a powerful film. As a journalist, I easily related to their passion for the story, their sense of duty to discover the truth and unveil it to the world. As a former Catholic school kid, the statistics were staggering. Based on true facts, Spotlight tells the story of how The Boston Globe exposed the wide-spread scandal of pedophilic priests and the massive cover-up within the Catholic Church. It hit the front page of the Sunday paper in early 2002 and sent shockwaves around the country—and, as the end credits show, the world.
Should you see it? If you enjoy journalism movies or are interested in the subject matter. I highly recommend it.
I have my theories. We all do. And in approximately 2 hours, we may have those theories confirmed.
My theory: Though a character or two may perish before the episode’s end, I think we’ll get an agonizing cliffhanger in that we won’t find out who meets Lucille’s business end until season 7 premieres. This leaves us the entire summer (and part of fall) to debate even more theories, a PSA I can’t wait to write. In the meantime, I want to hear your thoughts, so cast your vote and then discuss in the comments!
“Power couple” is a phrase thrown around rather often these days, particularly in pop culture. You’ve probably heard it applied to Brad and Angelina (accurately). Barack and Michelle (obviously). Kim and Kanye (painfully). It assigns a higher status to two influential people who are romantically linked—while giving them an impossibly annoying nickname—and using their combined prestige to make a difference, or, in Kimye’s case, make headlines. I don’t think it can apply to just anyone though. When I think of power couples, I envision those with actual power. It’s a little easier to pinpoint them within entertainment and they run especially rampant in television. So I’ve compiled a short list of my favorite characters whom I believe perfectly encapsulate the notion of the power couple.
Romance is rare in the zombie apocalypse, so it’s pretty refreshing when a new coupling makes their first move. Richonne just seemed like something all of Tumblr was screaming for but might not ever happen (like Caryl, though I’m still gunning for that one), but now it’s actually real. At the end of episode 6.10 “The Next World,” Rick and Michonne are chatting about their day “honey, I’m home” style and some impulsive hand-holding quickly leads to other things. The next day, Rick tells Carl “this is different.” And it feels different. Andrew Lincoln and Danai Gurira have both said in interviews that living in Alexandria and being in a place where they finally feel confident in their safety and their ability to survive has led them to remember that there’s more to life than stabbing, shooting, and slicing walkers on the reg. They’ve recognized something in each other that makes sense and it’s an organic acknowledgement of feelings that perhaps they just didn’t have time to accept before. It was a great moment and now that they’re official, it puts them at the top of my list. Nobody screams “power couple” more than the ringleader and the samurai—the couple that slays together stays together. Continue reading →
2016’s big winners: (L-R) Mark Rylance | Best Supporting Actor for “Bridge of Spies,” Brie Larson | Best Actress for “Room,” Leonardo DiCaprio | Best Actor for “The Revenant,” and Alicia Vikander | Best Supporting Actress for “The Danish Girl.”
In a lackluster award show year in the midst of perhaps the most publicized Hollywood controversy over the lack of nominations for actors of color, I knew the 2016 Oscars would be a rather different ceremony than in years past. That being said, I still wasn’t expecting so many uncomfortable moments shoved down the audience’s throat by host Chris Rock in his second stint on the stage.
Without touching too much on a provocative subject I’m not exactly equipped to speak knowledgeably about, I thought he might use his opening monologue to address the debate, which he did, and maybe close out the show with some sort of call to action, which he did by citing #BlackLivesMatter, and leave it at that. However, the night was rife with crude jokes, relentless little jabs at the underrepresentation of black actors (not all minorities, just blacks) in film, and several awkward moments that made the talent in the room shift in their seats, tittering as though they weren’t sure if they were supposed to laugh or not. After scanning some reviews, it seems some people were a fan of his tactics, but I happened to find jokes like, “In the In Memoriam package, it’s just going to be black people that were shot by the cops on their way to the movies,” to be needlessly tasteless. Continue reading →