Jenn's Pick: 5 Reasons You Should Be Watching Julie and the Phantoms [Contributor: Jenn]

When you think back on 2020, you probably don’t remember much fondly. It’s hard to recall January, when we were all hopeful and naïve about what the year would bring. And since the beginning of the year, so much media has come out that you might find yourself paralyzed by what to watch. If you’re anything like me, starting a new show in a dumpster fire year may feel daunting. You’ve likely returned over and over again to shows that bring you comfort, choosing to wrap yourself up in their predictability rather than risk watching something new.

While I highly recommend a lot of new shows this year (such as I May Destroy You, Lovecraft Country, Ted Lasso, Never Have I Ever, Little Fires Everywhere, etc.), the one I’m going to focus on is easy to miss because it’s branded as a teen show — Julie and the Phantoms.

You may have seen the trailer and thought, “There’s no way a show about teenagers in 2020 is good.” It is, and you don’t need to be a teenager to appreciate or engage with the content. But the series is more than just good: it’s a hopeful, sweet, endearing piece of media that we need to end this year.

It deals with relevant subject matter in thoughtful ways.

Since Julie and the Phantoms is branded with a teenage audience in mind and its central character, Julie Molina (Madison Reyes), is a high-school student, we see a lot of her life through that lens. Apart from boy drama and high-school classes, the majority of the show’s subject matter centers around the idea of grief and healing.

Julie’s a talented singer and songwriter but when we meet her in the pilot, “Wake Up,” she’s stopped playing music after the death of her mother. She’s on the verge of getting kicked out of her school’s music program because she still can’t play without getting emotional. The fact that grief paralyzes us in various ways is something critical for a younger generation to understand. Grief doesn’t always look like crying (though Julie and other characters express grief in that way too); sometimes grief looks like numbness. Julie lets the thing she loves slip away because the person she loved is gone.

But then three ghosts are introduced into Julie’s life and she begins to play again; soon she’s not just living to get through each day — she’s coming alive again. Grief and healing are really tricky subjects for any of us to navigate because no two people handle pain the exact same way. We see Julie break down, but we also see her happy. We see her talk about getting counseling after the death of her mother, and I think that’s a really important thing for everyone to hear: seeking professional help is okay when dealing with a loss. And it’s okay no matter if you’re struggling with loss or not.

One of the ghosts, Alex (Owen Joyner) talks about how he struggles with anxiety, which is also something really important to see represented on television. He visibly fidgets, panics, and also learns how to cope with his feelings in healthy, productive ways.

Emotions are an integral part of who we are, and it’s important that we learn how to process and deal with them in helpful ways. I’m glad that Julie and the Phantoms doesn’t shy away from the hard stuff and instead embraces it.

Serotonin-boosting media is a necessity for 2020.

Julie and the Phantoms will just make you feel good (I’d bring tissues for “Unsaid Emily” though, just a fair warning), and in this really difficult year, it’s important for us to remind ourselves of hope and joy. The stories in the nine episodes — yes, it’s only nine episodes so you’ll be done with this pretty quickly — are funny, heartwarming, and lead to some lovely character growth.

The fact that Julie is the only person who can see the ghost guys when they’re not performing leads to some early-on hilarity and panic. The boys have their own senses of humor and quirks. And the fact that they died in 1995 means that they missed a lot — leading to one of the funniest exchanges where Reggie (Jeremy Shada) learns that they made way more Star Wars movies than he’s comfortable learning about.

If you need something that will fill you with joy, silly and sometimes cheesy humor, genuinely heartwarming moments, and character growth... this might be the show for you.

The entire cast is adorable, endearing, and incredibly talented.

I talked about her briefly above, but there would be no Julie and the Phantoms without Julie herself, played by newcomer Madison Reyes. When I tell you that this girl knocks it out of the park for being so young, I mean it. The characters tell her that she’s a star, but she really is. What impresses me most about Madison is the amount of space she occupies for being so young — she fills absolutely every scene she’s in. She owns the stage when she steps onto it. There’s nothing about her that shrinks back; she is the lead of this show and her presence is absolutely lovely.

Julie’s ghost band is absolutely wonderful too. And the reason why Julie and the Phantoms as a band have so much chemistry is because they truly were cast as a band. When you watch the behind-the-scenes process, you witness the chemistry unfolding. They were put through the wringer — not just being asked to play and sing together, but doing improv and acting together. The band boot camp truly brought this group together, because the show wouldn’t work if it didn’t feel true and earned.

I’d be remiss if I didn’t talk about the boys. Charlie Gillespie who plays Luke Patterson, the lead singer of the band, is immensely talented. I was consistently fascinated by him as an actor throughout the series but never more so than in “Unsaid Emily.” Not only does he absolutely bring the “lead singer of a 90s band” vibe fully to life, but he also has the ability to communicate Luke’s own softness, grief, and regrets clearly on screen. When he cries, I cry. 

Not only that, but Charlie has the whole “leading man in a rom-com” thing down already for only being 22. You just feel things when Luke looks at Julie. And it’s clear that he understands his character, can communicate the complex emotions of romantic longing and sadness and pride all without missing a beat... or a note. I’m just ready for his career to take off as much as Zac Efron’s did post-High School Musical. He deserves every good thing, and his chemistry with everyone — a wonderful in-show joke — is off the charts, but his gentle understanding of Luke and Julie’s relationship makes the show so watchable.

Owen Joyner as Alex is just absolute perfection too. Alex is a bit anxious and the only one of the band who’s seeming to experience such complicated feelings about being dead. His relationship with Willie (Booboo Stewart) is so pure and sweet, but Owen’s ability to truly feel Alex’s pain, longing, anxiety, and joy is what makes him so wonderful to watch. He is sensitive while also still being grounded in reality. His comedic timing and sarcastic wit are absolute perfection (I relate hardest to his personality, let’s be real here), and it’s what makes Alex so special, relatable, and funny. He has a big and good heart, and he only wants the best for the people he loves.

Plus I dare you not to burst into the biggest grin when Owen Joyner joins the stage to dance during “All Eyes on Me.” I DARE you.

But I also have to mention, yet again, Jeremy Shada as Reggie. Because Luke and Alex have romantic interests in Julie and Willie respectively that are focal points of the first season, we often lose Reggie in the discourse about the Phantoms, but he’s an absolute delight. While not often the brightest, Reggie’s heart and earnestness are what make him so special. He cares a lot about others, and his vulnerability and willingness to just BE with others can often get overlooked. But it’s important that Reggie so sweet and concerned about others. His storyline with Julie’s dad, Ray (Carlos Ponce), is so wonderful and heartfelt. I love Reggie because his comedy is so silly but his heart is so big.

Rounding out the cast is the aforementioned Ray. Carlos Ponce doesn’t always have a lot to do in the show, but that’s okay: his acting is so great that we get the sense of who he is in the scenes between him and Julie; we understand who Ray is not only as a father (incredibly supportive, concerned and loving), but also as a person. He’s grieving the loss of his wife, and he visits the music studio often to talk with her. If the show is renewed for a season two, I need more of him and also Carlos (Sonny Bustamante), Julie’s younger brother. They are both so supportive and sweet.

Flynn (Jadah Marie) is Julie’s best friend and if you’ve ever had a friend who’s been with you since you were young, you’ll feel transported back to your high-school days with these two. From the moment she appears on screen, it’s evident that she and Julie have a supportive-but-also-make-fun-of-each-other bond; I know I was reminded of the fact that my best friend and I have known each other since we were about Julie and Flynn’s age!

Flynn is more than just a ride-or-die friend though; she’s part of the Molina family. Ray asks her to look out for Julie and to tell him if something seems off. She’s like the unofficial third Molina child, and I love that. Flynn tells Julie hard truths and helps before she’s even asked to help. That’s a best friend! Plus, Jadah Marie has such great comedic timing and facial expressions. I need more of her next season!

Most of the cast are virtual unknowns (pause, because I have to briefly mention the one cast member I knew going into the show: Cheyenne Jackson, who has a stellar voice and plays a fabulous villain). But it’s clear that these talented individuals are going places. And I can’t wait to point at my television or movie screens and say: “I knew them when they were in Julie and the Phantoms!” (And I swear, I will write Charlie Gillespie a leading role in a rom-com if Netflix pays me money to do so. This is just a shameless plug for you, Netflix. Hire me.)

The music is incredibly catchy and the choreography is lovely.

Whenever you see the name “Kenny Ortega” associated with a project, you can expect quality and that’s exactly what you get in Julie and the Phantoms. Not only is the choreography so great because of its homages to his past projects like High School Musical, Dirty Dancing, and Ferris Bueller’s Day Off, but it’s just all genuinely realistic. Everything about the musical performances in the show feels so natural. I also think it’s incredibly important that Kenny Ortega is part of this project because his history with younger actors proves that he doesn’t see their inexperience when he looks at their performance — he sees potential.

Charlie Gillespie and Madison Reyes actually wrote one of the songs in the show, “Perfect Harmony,” for their characters during their down-time on set. Kenny is an incredibly seasoned director and a number of other directors might have said and/or thought: “Cute... but stay in your lane, kids” but Kenny didn’t; he put the song in the show. He encourages his actors to understand their characters, to improvise, to learn and grow and to not be afraid of that.

How do I know that? You can see that spirit shine in the final product of the show. It seems clear that the atmosphere behind-the-scenes was collaborative and supportive — an important space to help younger actors, and seasoned ones alike, thrive.

I dare you to watch/listen to “Edge of Great” without immediately bouncing in your seat. I adore “Wow,” which is performed by Dirty Candy in the show, a teenage band fronted by Carrie (Savannah May), former friend-turned-enemy of Julie and Flynn. That band’s songs feel so Katy Perry-esque, but the show never sets up Dirty Candy vs. Julie and the Phantoms to be an argument of which is the better genre: it just points out that both are valid musical genres, and both can be celebrated!

I doubt you can listen to “Unsaid Emily” without crying, I hope you all experience the joy of rocking out to “Now or Never,” and feel all the emotions well up inside of you during “Stand Tall.”

Representation matters.

In the behind-the-scenes video that Netflix did when the actors were in the casting process, Madison Reyes mentioned that the role models she had to look up to were usually all Caucasian. I know we’ve heard that before, but keep in mind that Madison is only 16 years old — that in the past decade or so, we still haven’t really progressed to the point where teenagers now can remember a time they saw themselves represented on film or television.

Julie Molina and Madison Reyes are proudly Puerto Rican, and that matters. It matters for young women who will see Julie — the lead singer of a band — and recognize themselves. The world of Julie and the Phantoms feels very much like it’s representing the world today. There are characters of color and it’s normal. There’s LGBTQ+ representation (and among POC too!), and it’s normalized. Alex’s storyline, for the most part, is a joyful one; it’s a chance for queer kids to see that happiness is possible (and yes, shh, I know both Alex and Willie are technically ghosts but it is still important). 

It’s important for people to be able to see themselves in the media they consume, and it’s extremely important for them to see the world they live in reflected in television and film. The world isn’t filled with only Caucasian people or straight people or upper-class people. It’s filled with all kinds of people from all backgrounds, and I love that Julie and the Phantoms is making a conscious effort to reflect that.

Hopefully I’ve convinced you to head over to Netflix after you’ve finished reading this to watch Julie and the Phantoms. And Netflix... where’s that season two renewal? Until then, I’ll be bopping along to the songs from this charming show. Sound off in the comments below if you’ve watched the series and let me know your thoughts!

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5 Reasons You Should Watch Mythic Quest: Raven’s Banquet [Contributor: Jenn]

People have talked for years about “peak TV.” Ever since streaming services entered the television game with their own content — and more and more services seem to be popping up every few months — the amount of television we have to consume grows steadily. It’s incredibly commonplace for someone I know to say, “Have you seen this show?” and for me to have no idea that it, or the streaming service it debuted on, even existed. One of my neglected streaming services recently has been Apple TV+. Admittedly, once I finished watching Dickinson, I decided to quit the service to save some money. I returned to Apple TV+ recently to watch Mythic Quest: Raven’s Banquet and Defending Jacob (the latter of which is incredibly intense and great).

And obviously, I adored Mythic Quest. This quiet ensemble comedy about a video game of the same name is co-created by Rob McElhenney, Charlie Day, and Megan Ganz (all of whom have worked together on It’s Always Sunny in Philadelphia). It stars McElenney as Ian, the creator of the popular video game Mythic Quest. He’s selfish, narcissistic, and charming with a secret softness to him — essentially he’s the perfect leading man! But because this is truly an ensemble comedy, the show wouldn’t work without its plethora of characters: from the intelligent, driven lead engineer Poppy Li (Charlotte Nicdao) to the David Brittlesbee (David Hornsby), the “straight man” in a lot of the Mythic Quest madness, to selfish bottom line-obsessed Brad Bakshi (Danny Pudi).

Let’s break down what makes Mythic Quest such a special show and why you should take a day this coming week (the season is only nine episodes, with the 10th being the quarantine special) to binge-watch it.

5. They addressed COVID-19 in a brilliant, powerful episode.

I’ll do my best to not give too many things away, but if you choose to watch Mythic Quest this week, check out a few of the articles about how the show pulled off an impressive quarantine episode with 40 new iPhones, AirPods, and virtual instructions from the crew to the actors (like how to make sure the lighting and sound was correct). Mythic Quest’s content lends itself to this kind of episode: it’s easy to imagine these characters feeling different things during quarantine, with C.W (F. Murray Abraham) trying to figure out all the technology involved and Jo (Jessie Ennis) growing increasingly frustrated and Carol (Naomi Ekperigen) trying to balance her children and her coworkers who... well, act like children. Since Mythic Quest is all about video games and the industry, this episode managed to incorporate coding, technology, and video gaming seamlessly.

But while the episode was funny, the most important thing to me was the deep, emotional heart behind it. Quarantine affects us all differently — some characters like Dana (Imani Hakim) and Rachel (Ashly Burch) are dealing with it fairly well, continuing their jobs of testing video games and occasionally doing some fun virtual activities. Eventually they and Lou (Craig Mazin) are the ones who spearhead the department-wide virtual Rube Goldberg machine. But one person is struggling in quarantine: Poppy. She has no friends outside of work, and all her family is presumably thousands of miles away in Australia. The most powerful part of the episode is when Ian realizes that Poppy isn’t doing well at all. And he does something about it. The Ian/Poppy heart of Mythic Quest is something I really love; they’re fundamentally different characters and he can pretty much be an egotistical jerk most of the time. But he cares about her. And he goes out of his comfort zone in this episode to make sure she’s okay.

Seriously, once you binge the episodes of Mythic Quest, be sure to stay tuned for this one.

4. It’s an ensemble comedy with an array of talent.

I already mentioned that this ensemble is stacked with talent, but it bears repeating. There’s not a weak link among them, and each brings their own brand of comedy to the performances. Obviously Rob McElhenny is a comedic powerhouse, but Charlotte Nicdao provides a perfect compliment to his particular brand of comedy. All of the actors on the show have impeccable comedic timing, but they also are super great at physical comedy. David Hornsby is hilarious as the often anguished and exasperated leader of the team, trying to corral the chaos that happens at Mythic Quest. It’s right up his alley as a comedic actor, and I love it. But even the characters who aren’t often at the forefront like the video game testers get the opportunity to shine. The show mixes up the character pairings in order to provide some fun interactions (I want more of C.W. hanging out with Rachel next season, or scenes with Poppy and Brad because they’re always fun). Speaking of Brad, please enjoy how talented Danny Pudi is and how great it is to see him in the role of a smug jerk. Brad is so vastly different from Community's Abed but that just means Pudi is talented. (Like any of us doubted that, right?)

In addition to the stellar main cast, there’s a special flashback episode called “A Dark Quiet Death,” in which no main Mythic Quest character appears until the very end. The episode stars the incredible Jake Johnson and Cristin Milioti. And they truly do immense work as the flashback episode traverses through many years in the relationship between their characters, Doc and Bean. Normally in a show with only nine normal episodes, I’d critique the choice to spend one of those episodes focused on people who aren’t the main cast members. But truly, this episode isn’t a throwaway; not only is it an incredibly well-told, emotional story but something important in it comes back in the season finale, “Blood Ocean.”

This cast is so very great and I absolutely adore what each of them bring to the table.

3. There are developed, nuanced female characters.

Speaking of the incredible ensemble, this show features an array of female characters. And each of them gets the chance to be developed over the course of the season! In addition to the main cast of Poppy (who gets the chance to grow as a person and a leader), Jo (who adds some hilariousness and eccentricity; she always goes too far with things!), Rachel (she gets to be developed so much!), and Dana (who goes from being a tester to a streamer in her own arc), there are also characters like Michelle, Carol, and Sue who round out the world of Mythic Quest.

Mythic Quest is a show about video games and the gaming industry which, of course, means that it addresses the topic of women in gaming with frequency and poise. There are actually a few episodes that highlight the issue, with “The Convention” being a prominent one because it tackles the topic of women in gaming head-on (and features a really great little speech by Dana). 

Mythic Quest knows its audience — it’s self-aware enough to realize that men still dominate the video game industry (the in-joke of David makes of how many men there are working at the office was apt) and that there are lots of men in their own cast. But with one female showrunner and quite a few female writers (most of the episodes are either written or co-written by women, including Megan Ganz), Mythic Quest demonstrates that it doesn’t just give lip service to female characters but truly values women in front of the camera and behind the scenes. The women are allowed to be diverse, not just in ethnicity or sexual orientation but in personality. There are female characters who are creative, some who are quirky, some very meek, and some outspoken. I've always loved Megan Ganz as a writer, but I can feel her presence as a showrunner strongly throughout the first season, especially in this area.

I appreciate when television shows are able to depict women in realistic ways, and feel that a lot of shows could learn from Mythic Quest’s example.

2. It incorporates fun, video game and technology elements.

“Mythic Quest: Quarantine” was a perfect example of how shows could use technology to their advantage. The episode features little technological references to face filters, phone calls, Zoom-like teleconferences, and more. But Mythic Quest in general features so many video game references and scenes. There’s an entire episode that features a video game battle royale between Ian and a masked character, and since the show’s storylines revolve around playing the titular video game, fixing its bugs, or developing new features, we get to actually see the video game. It’s something really cool and it makes the show feel unique in the way it strikes the balance between real people and animation.

I’m not even a video game person and I absolutely loved the incorporation of the video game and technological elements, so that should tell you something! (Hopefully.)

1. Its humor is rooted in the characters, and its heart is sincere.

I should mention, of course, that this show is so dang funny. It made me laugh multiple times throughout the season, and even the pilot is strong (not something that often happens because of the nature of pilots). But the humor is rooted in the characters and the heart of the show. Often comedies will go for punchlines just for the sake of punchlines. But not Mythic Quest; this is a show that knows the humor comes from the characters, their fundamental differences, and what those differences can lead to.

I’d be remiss if I didn’t talk about how grounded this show is in emotion though too. I’ve watched too many shows throughout my lifetime that are cynical; they believe people are the worst, and their comedy is rooted in some sort of darkness. But Mythic Quest is an optimistic comedy; yes, some characters are jerks and might always be jerks (like Brad), but some characters are jerks who take a while to do the right thing, but eventually do (like Ian). One of the most beautiful things is that the characters have real, honest conversations with each other. It acknowledges that relationships are difficult, whether romantic, platonic, or familial, but that they’re ultimately worth pursuing. I love that “A Dark Quiet Death” made me tear up, and that “Brendan” and “Mythic Quest: Quarantine” made me cry. Like... sob. The show is not just funny; it’s also incredibly heartfelt and earnest, tapping into the audience's feelings deftly. The characters grow and change, and they all genuinely care about one another. More than just that, however, those emotional conversations and moments feel earned. They’re not hollow, cynical, or rushed; they’re truly powerful in how sincere they are. And that makes Mythic Quest so special — it's a perfect blend of comedy and heart.

Have you watched Mythic Quest: Raven's Banquet yet? Check it out on Apple TV+, and we hope you enjoy it as much as we did!

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5 Lessons We Can All Learn From Modern Love [Contributor: Jenn]

Love is messy.

And I’m not just talking about romantic love (though that is, in my experience, messy). I’m talking about the act of loving another person — a significant other, child, friend, parent or stranger. Love is messy because it requires sacrifice. We give, with open hands and hearts, knowing that our love may not be reciprocated. And even if it is, we give risking someone breaking our trust or crushing that love.

Like I said, love is messy. Because people are messy.

Amazon Prime’s Modern Love is an anthology based on a popular column from The New York Times of the same name. Throughout eight episodes, we witness all kinds of love between individuals. And through these little windows into love, we learn something about ourselves and the people around us.

I won’t pretend that Modern Love is a flawless TV series (tbh for a series set in diverse New York, there sure are a lot of white people), but what I will say is that it deeply touched me and I feel like there are quite a few lessons we can apply from its stories.

I’ll be sharing the plot of most of the episodes below (fair warning, I didn’t make it through more than five minutes of “So He Looked Like Dad. It Was Just Dinner, Right?” but the good news is that you too can skip it and it won’t make much of a difference at all!), so this is your spoiler warning. Ready? Let’s dive in.

Lesson #1: Platonic Love is Powerful

The first episode, “When the Doorman is Your Main Man” is probably the most deeply touching (save for the finale) of Modern Love starring Cristin Milioti and Laurentius Possa. Milioti plays Maggie, a young book editor and Possa plays her doorman, Guzmin. The two have a lovely platonic relationship: he looks out for her best interests, and she confides in him. The relationship never develops into romance, but I think that’s what makes this particular episode so important: love isn’t always romantic.

Platonic love can be as powerful as romantic love.

Maggie never feels judged or shamed by Guzmin. He never chides or taunts her; he always reminds her that he’s there and will support her no matter what. Her life is hers to decide, but he’ll tell her in a gentle, loving way when she’s too good for a guy.

Platonic love is often overlooked in television these days in favor of romantic love. That’s not to say one should always take precedence over another, but there’s something powerful about knowing that on Grey’s Anatomy, Alex will always be there to support Meredith and romance won’t be on the table.

Similarly in Modern Love, Maggie knows that she can count on someone who has no hidden agenda, no ulterior motives, and wants nothing but her happiness. There’s something so pure and unhindered about Guzmin’s love for Maggie. We watch him help her raise her daughter and push her out of her comfort zone to move to Los Angeles. Guzmin isn’t jealous, condescending, or selfish.

He’ll always be there with an umbrella. He’ll help Maggie because he loves her. And it’s beautiful.

Lesson #2: Self-Love Love Demands the Truth

“Take Me As I Am, Whoever I Am” is a powerful episode in which Anne Hathaway (long live my Queen of Genovia) stars. This episode tells the story of Lexi, a lawyer who we learn, about half-way through the episode, is bipolar. But no one knows Lexi is bipolar or that she’s struggled with her condition since she was a teenager. She’s tried everything under the sun to help, but Lexi is locked in a prison of her own making: her silence and shame.

So she bounces from job to job, claiming she likes moving on. She pushes away potential romantic suitors, including Jeff (played by Gary Carr) whom she meets at a grocery store during a manic episode. Lexi goes through multiple, heartbreaking manic and depressive bouts throughout “Take Me As I Am, Whoever I Am.” Anne Hathaway does a wonderful job conveying the utter pain and frustration when Lexi is hit with an intense bout of depression as she puts on mascara for a date.

But the most powerful lesson we can glean from the episode is that love, especially self-love, demands honesty. We can’t truly love ourselves or others if we’re not honest with who we are, what we struggle with, and what we want. I’ve been in relationships and have watched friends’ relationships fall apart because one person is too afraid to let down their walls and let others in. Shame is a door we lock from the inside, believing that if anyone saw who we were — the ugly, painful, secretive stuff — that they wouldn’t love us. The truth is that the reason we hide is because WE don’t love those parts of ourselves. Until we learn to stare our insecurities, doubts, pasts, and shadowy parts in the eye and accept them, we’re just running.

I’ve seen what running and hiding does to a relationship. I’ve watched people crumble before my eyes because they can’t accept who they are, or what they’ve done. They can’t come to grips with the fact that they’re broken and messy so they put up walls and only let other people see them a certain way. I once dated a guy who said he never cried in public; he wouldn’t let anyone, not even his close friends and certainly not strangers, see him weep. He hid his emotions. He hid his brokenness. And that might not cost him dearly in the short-term (we never think we’ll have to pay a price), but it will in the long-term.

Love, at the very least, is sitting across the table and saying, “You’re not okay. I won’t try to fix you. I’ll just sit here in your brokenness with you.” And that’s what happens to Lexi. Her friend and colleague won’t let her be alone in her brokenness, but she also doesn’t pry or force herself or her expectations onto her. Slowly, Lexi opens up. And shame dissipates. Not permanently. Not forever. But something cracks and the light begins to pour in.

Self-love demands we take a hard look at the parts of ourselves we don’t like, and acknowledge that they’re present. They exist. Whether we choose to love or hate ourselves really does affect how we love others. We can pretend it doesn’t, and we can shove our emotions, insecurities, and self-doubt way down deep, pretending we’re fine. Pretending we’re not flawed.

But true self-love thrives when we’re honest with our shortcomings and issues. Admitting our cracks helps us step out of shame and into a light where we feel free to tell our stories, truthfully, to others we can trust. It allows us to get the help we need. And it also allows others to open up about their own struggles. Vulnerability begets vulnerability.

Self-love opens the door to all kinds of deep, meaningful connection. And I love that Modern Love focused on this through Lexi’s story.

Lesson #3: Romantic Love is Work

I thought I was going to skip “Rallying to Keep the Game Alive.” Not because I dislike Tina Fey (quite the opposite), but because the subject matter seemed too tense and real. A majority of Modern Love’s fourth episode is devoted to a sparring married couple; their relationship is on the brink of divorce. Sarah (Fey) and Dennis (John Slattery) can’t communicate or agree on anything. They’re fighting. Their kids are fighting. The couple is going to counseling but it’s not sticking. Even when the counselor tells them to find an activity to do together, they fight. They use tennis to wound each other. And Sarah’s breaking point, it seems, is when she snaps at one of her husband’s fans (he’s an actor) at dinner.

What I love about this episode is the thing I thought I’d hate: its realism. Often, we turn to romantic movies or television shows for escapism. We dream of what could be while fleeing from what’s happening in our real lives. “Rallying to Keep the Game Alive” is an apt title, because Sarah and Dennis finally hit a point in their marriage where they have to decide if they’re going to be honest and vulnerable or keep avoiding and shutting down. Both choose unhealthy ways of processing their emotions (Sarah gravitates toward anger while Dennis chooses to be emotionally distant or physically absent).

The turning point is when Sarah lays down her anger in favor of emotional vulnerability, and Dennis chooses to sit in the discomfort of the moment instead of checking out or running away. It’s a painful, but necessary, reminder that love is work. It’s a choice. It’s not something we’re innately programmed to do. We’re programmed to run, to hurt when we’ve been hurt, to fight back. Dennis’ apology where he doesn’t excuse his behavior or try to pin blame is so significant.

Sarah puts down her armor. Dennis apologizes. That’s it. That’s not the end of all their issues, but the start of their next step. And the beginning of an actual choice — to pursue their marriage.

Love is work, friends. Love is hard, hard work. And it’s forgiveness (within reasons, of course: don’t let anyone make you confuse abuse with love) when it can be, and tentative steps forward in trust.

Love can be good. But boy is it hard.

Lesson #4: Love is a Choice, Over and Over Again

People often tell us that love is a feeling, but that’s only partially true. Real, lasting love is a choice. A daily surrender. A constant decision that’s day by day and sometimes moment by moment. I dated a guy once who had a lot of emotional baggage and issues loving himself. As a result, he believed that love was a thing that was supposed to make him feel good. When he loved someone, he’d feel it and everything would fall into place; he’d love himself if someone else loved him first. Maybe I’ve been deprogrammed because of rom-coms but I told him that love is a decision you make even when you DON’T feel good about yourself or the person you care about.

A few episodes in Modern Love demonstrate the fact that love is a choice (one of them is the “Rallying” episode I noted above), but perhaps none more than “When Cupid is a Prying Journalist.” I adored this episode, and not just because it featured Dev Patel, who needs to star in all the rom-coms possible. I enjoyed it because it featured a realistic look at what it takes to make love work. It showed relationships falling apart, and the consequences of peoples’ decisions or indecision. Patel plays Joshua, creator of a dating app. He’s interviewed by a journalist named Julie (played by Catherine Keener) about the aforementioned app. In the process, the two strike up a friendship as they share stories of lost loves.

The conversation spurs both to reach out and take a chance on a love that they thought they’d left behind. Joshua’s relationship with his ex rekindles, and Julie’s relationship with her what-might-have-been doesn’t ever leave the ground. But the encounter leads them both to make decisions: Julie ends her stalled marriage, while her might-have-been decides to make it work with his wife. And Joshua professes his love, via Julie’s article, for his ex.

Finding or losing love isn’t the end of the story (a fact that’ll be reiterated in the season’s final episode), but it is a choice. Julie, Joshua, and every other character in this episode had to choose something: whether to end a relationship, forgive, or fight to keep love alive. Their choices were intentional, and I think that was really important to witness.

(Additionally, “Hers Was a World of One” features a beautiful display of this theme in its depiction of a found family. Tobin and Andy decide to adopt the newborn of a surrogate named Karla who’s young, homeless, and a lot to handle. The couple makes room for her in their lives and realizes how complex relationships, families, and preconceived notions of people can be. They choose to love her, even when she’s hard to love. And she chooses to connect with them emotionally even though it’s easier to do life alone.)

Lesson #5: True Love Moves Us to Action

“Talk is cheap.” 

“Actions speak louder than words.”

As much as we hate clichés, there’s a reason they exist: there’s truth in them. And clichés like the ones above hold one important truth about love: love, any love, demands action. Every episode in Modern Love depicts love being an action, a choice, and a thing someone does.

True love pushes us to keep changing and evolving — no matter what kind of love you’re talking about. “The Race Grows Sweeter Near Its Final Lap” is Modern Love’s season finale, and I love it for a lot of reasons: it nicely ties stories together through the season, it focuses on new love found in an elderly couple, and it’s hopeful. The finale tells the story of Margot (Jane Alexander) and Kenji (James Saito) who meet one another at a race. Margot invites Kenji to join the running club she belongs to, and the two strike a kinship that turns into love. They’ve both experienced a lot in life by the time they meet, including loss. But, as Margot says at Kenji’s funeral, new love in old age is something truly special.

Margot decides to walk home from the service rather than take a car, and as she walks, she passes runners. Something stirs within her and she begins to jog, clearly feeling freedom and joy. As she jogs and cars pass, the audience witnesses glimpses of the other storylines we hadn’t gotten before: of Karla meeting Tobin and Andy for the first time, of Guzmin walking home with Maggie in the rain, of Joshua running into Julia and her new flame, and Dennis and Sarah playing tennis in the rain.

All the while, life is moving. Love is still all around (I’m sorry, I just had to sneak in that reference somehow), and Margot is still running. But she’s not running AWAY from feeling; she’s running TO it. She’s not slowing down, even though she loved Kenji. She’s acting because she loved him.

In Modern Love, we see characters act out of love for each other more than we hear “I love you” uttered. That’s so important. And it’s something we can learn from.

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4 Bonkers Theories That Still Might Pan Out in Game of Thrones' Final Season [Contributor: Melanie]

In any normal year Game of Thrones would have started by now, someone would probably be dead, we’d be throwing back Ommegang’s yearly Game of Thrones themed brew, and trying to make these ten weeks last as long as possible. Unfortunately, this is not a normal year. This is, in fact, the last time we will be waiting for a new season of the HBO series. And because of the nature of the last season, we’ve got a little bit longer to wait.

While the final season is only six episodes, each episode is projected to be as long as two hours in length (RIP to any productivity on my Monday morning). The combination of delayed start time on production — due in part to a disagreement between showrunners and HBO on the episode number and length — and the actual minute length of the season being longer than any of the normal 10 episode seasons, we’re still in production almost a year since last year’s premiere.

Said production is scheduled to wrap its primary shooting in June and so far we know very little about anything (compared to a massive treatment leak last year that revealed the season’s trajectory early on in season eight's production). Rumor has it they’re being so tight about information on this one that they’ve scripted multiple last episodes, which they intend to film, to confuse would-be hackers and to keep the real information at least a bit muddled if anything ever got out. We do know that there was a massive 55-day night shoot in Iceland all for a single battle scene that featured, to our knowledge, Emilia Clarke and Kit Harington. We also know that Kit Harington was spotted filming a scene with Lena Headey at the King’s Landing set and several characters returned to the Dragon Pit set (scene of last year’s epic sass battle).

But beyond that, we’re pretty much way outside the loop. There’s no telling when teaser material will come, let alone the season itself (though the rumored premiere is April 2019). Ultimately, we should really be trying to enjoy this since it’s the last time it’ll ever happen and the weeks leading up to a Game of Thrones premiere can contain some of the best cultural moments — not to mention the Twitter echo chamber we all contribute to before, during, and after episodes.

In honor of us normally getting an episode by now, I thought I’d do a quick look at some of the most out there, fringe theories surrounding the plot that — while odd — have yet to be completely disproven. So, what might we get to see when the song of ice and fire sings its final verse?

Tyrion, son of... Aerys

I’ve mentioned this theory once or twice; not only has it not died in the decades of books, but it’s actually gained more and more credence among fans — especially with the show giving some clever, quick nods to the possibility. The theory generally goes that Tyrion is the bastard son of Joanna Lannister and Aerys Targaryen, a.k.a. the Mad King. How is this possible, you ask? Well, we know that Aerys had a thing for Joanna — to the point that Tywin sent his wife away from capital to protect her from his leering eye. However a little less than a year before Tyrion was born, she returned to King’s Landing for a tournament. So the timing matches.

Further evidence for this comes in some random bits of odd details about Tyrion. His hair is described as so blonde it almost seems white (a far more Targaryen description compared to the normally “golden” look of the Lannisters) and in one of his first scenes, he mentions how he always wanted to ride a dragon, a scene echoed in the show in season six when Tyrion approached Dany’s dragons and was able to touch them, unharmed (the only other person known to do this was Jon, a Targaryen himself).

I’m not saying it’s probable — and would require a whole slew of events to happen and the hush-hush of a few people — but it’s entirely still possible that the long-held theory that Tyrion is secretly a dragon just can’t seem to die.

An out-of-place lemon tree could make Jon and Dany twins

If you thought the first one was a doozy, be prepared for how bizarre this is about to get. In the books Dany routinely recalls her childhood home with a red front door and a lemon tree just outside her window. That’s all fine and dandy but the big problem fans noticed was that this house is meant to be located in Braavos, which is geographically almost as far north as Winterfell and botanically unlikely to sustain a warm weather plant. What makes this stand out even more is that there is a place absolutely swimming with lemon trees, so much so that the air is said to smell of citrus all the time. That place is Dorne. When asked about the discrepancy, George RR Martin replied: “Very perceptive of you. It’s almost as if... but that would be telling.”

What was Dany doing in Dorne as a child, and why was she made to believe it was Braavos? One clue might lie in the another character who had some early childhood experiences in Dorne: Jon Snow. While officially Jon is Dany’s nephew, many have taken this lemon tree debacle and applied it to the long-held theory that Dany is, in fact, Rhaegar’s daughter, not his younger sister. There’s a whole plethora of reasons why people think that, but since we don’t have an hour I’ll just say that a lot of people have given that theory some thought and come away with diehard beliefs about it.

As for the lemon tree memory... well, Dany was hidden in the south while her twin brother was hidden in the north and she was, eventually, stolen or spirited away to broker a better position for the exiled prince Viserys — disguised as a legitimate child of Aerys.

Thematically, the pair being twins resolves a lot of things: like the fact that Dany and Jon seem to be the same person on paper, narratively, and they’re both the most viable candidates for the prophecies of the Prince That Was Promised. It also explains why Jon doesn’t have any Targaryen looks, despite the fact that several generations of Targaryen mixed kids show a fair amount of Targaryen genes. It also answers the mysteries around Ned Stark’s nine-month absence after Jon was born (his concern for Dany in the first book has lead many to believe he knew about the second child).

A companion theory to this is that Dany is his half-sister, by Rhaegar and Ashara Dayne. Several hints have been dropped linking Dany to Ashara Dayne who was said to have a child that was either stillborn or stolen (depending on which Westeros rumor mill you subscribe to).

Could Bran be the Night King? 

This theory has been around on the Internet for years and usual gets an eyeroll for a response, but let's assume for a minute that there’s something to it. Subject belief about the similar looks between actors aside, is it possible? And if it was... what would it mean? We know Bran can travel back in time through warging and even affect the past (create a causal loop of predestination that leaves quantum physics minded fans reeling). Perhaps he takes his arrogance as the Three Eyed Raven to the next level and attempts to rewrite the past. But we know from our original Three Eyed Raven that “the ink is dry” where the past is concerned. So if he goes back and does something... well he’s already done it. Yay time travel!

Just as he messed with Hodor and became responsible for the gentle giant’s mental affliction as an adult, perhaps he’s already created himself as the Night King in the past. Maybe he he goes to do battle with Azor Ahai 8,000 years ago while our Azor Ahai reborn (Jon, Dany, or both) must fight his reawakened version in the present. It would explain the Night King’s lack of surprise at Dany’s dragons. He already knew and was waiting for her. It thematically plays into the repetition of history that GRRM likes to play with. It also fires the Chekhov's Gun that is Bran’s time travel powers.

The “gotcha!” endings

We’ve all seen them — the endings of a book or movie or show where you find out the bonkers story you just watched is a dream (Twin Peaks recently played with this trope). They’re frustrating ways to end a story and are major cop-outs for someone who didn’t know how to narratively close their world. While it’s doubtful that Game of Thrones will find itself ending this way, there was a conversation in season one where Rob Stark mentioned how Old Nan once told him the sky was blue because everything existed inside the eye of a blue-eyed giant.

While that’s probably not the case here, there are plenty of options as to what actually might be going on. There is the possibility that this is all a dream: Bran’s specifically. There’s the chance this all ends up being a story someone in the distant future is telling. Maybe the show is, in fact, taking place inside the eye of a blue-eyed giant. While it’s most likely the story will end with a somber, bittersweet look at the lone survivors facing the ongoing threat of the White Walkers, there’s always that chance we all get duped in the end.

There’s plenty of other crack theories out there: Perhaps Jaime is the Prince That Was Promised? Dany is the story’s true villain? (That one about Rickon getting the Iron Throne at the end is obviously out). And we’ve got about a year left of waiting to do before it’s all said and done. So keep a sharp eye out, kids and emotionally prepare yourself for next spring.

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5 Reasons to Watch SyFy’s Krypton [Contributor: Melanie]

Krytpon is the newest show in a slew of media that is giving the Man of Steel some new life. The SyFy original series stars Cameron Cuffe as Seg-El — the grandfather to the future Kal-El — who has recently found himself as the last remaining member of the disgraced House of El after the execution of his grandfather and parents. Set 200 years before Superman’s time, it details a time when Kandor City was under the theocratic rule of a tyrant known as the Voice of Rao. When the discoveries of extraterrestrial life — made by the House of El — threaten the classist theocracy that has kept order on Krypton, Seg must ensure the survival of Krypton from the world-collector Brainiac.

If this sounds nerdy as all get out, it’s because it is.

The show also stars Georgina Campbell as Lyta-Zod (whose name should ring a bell as a kinswoman to the future Dru-Zod) the forbidden love interest to Seg and a commander in the Kryptonian military guild, Shaun Sipos as the spacetime traveler Adam Strange (more bells should be ringing there), Elliot Cowan as the oligarchy-defending city magistrate Daron-Vex, Rasmus Hardiker as Seg’s best friend and bartender Kem, Ian McElhinney Seg’s own grandfather Val-El, and Blake Ritson as the looming Brainiac.

Maybe you’ve seen some things about this show, or maybe you have no clue and really don’t care. But if you’re someone who’s likely to scoff when I tell you Superman is my favorite superhero, I can promise you that this show is not your dad’s (or granddad’s) Superman. Everyone’s favorite Blue Boyscout has seen a nihilistic revival recently, thanks to Zack Snyder’s serious and dark interpretation in the DC Cinematic Universe. The CW’s Supergirl plays him a little closer to tradition but with a very flawed side. Despite the tones of this show, I’d liken it more to Supergirl’s interpretation: You don’t need Superman to make a good Superman show.

Here are some reasons why you should really give this one a go if you’re on the fence or have a history of despising Superman-related media:

1. Female representation

This is always number one on my list. It’s one of the first things I consider while watching something. It may sound stupid to some — to base your viewing preferences on diversity inclusion — but I’ve had to set aside my social morals for so much media in my life that at this point I feel inclined to screen my calls here.

This show has some major female presence, and it’s not just the objectively pretty, white face of Nyssa-Vex (Wallis Day). Our second main character is Lyta-Zod, a warrior and woman of color who by the second episode rises to the rank of commander when she invokes a combat trial to assume leadership of her unit. She does this after disagreeing with the tactics of her current commander and, when diplomacy fails, sees this as the only way to ensure the safety of the poor, “rankless” Kryptonian class.

I will do you one better here: Her mother (Ann Ogbomo) is the Primus of the Kryptonian military and they have plenty of Bechdel Test-worthy conversations about leadership and loyalty and their duty to the government and their home. The relationship between Lyta and Jayna is one of the most interesting parts of the series so far. They butt heads over tradition, over compassion for the poor, and over what exactly duty to their government and homeland means. In a time where the hardcore — and misinformed — believe those who criticize their own government out of concern for their fellow citizens cannot be true patriots, the old order vs. the new order motif with Jayna and Lyta is super relevant. And watching two women of color, in high ranking leadership positions, have philosophical discussions about society, military, and patriotism in a genre normally dominated by white men brings a warmth to my heart.

2. It hits the issue of institutionalized oligarchy head-on

In pretty much all Superman media, Krypton is portrayed as a utopia gone wrong. It plays like Rome — something that got too big and too successful to continue to thrive at the same level and, eventually, fell into ruin. This Krypton is a lot bleaker than that. Rather than the towering spires and shining, domed city we’re usually treated to, we spend most of our time in the slums of Kandor with the “rankless”: those who do not belong to a noble family or guild. They’re marketplace vendors, bartenders, service workers, the homeless, and many other familiar professions and positions. The ranked families, such as the houses of Vex, Zod, and El have considerable control, are in positions of power, and actively work to maintain that status quo. Daron-Vex even gives a lovely speech about the importance of order to their world, and how that order is contingent on the continued religious beliefs and the monopoly of power held by the ranked families.

Sounds familiar.

3. Honestly, it’s a giant metaphor for cross-generational alliances

Every generation likes to stand out and ostracize itself from the ones before or after. They even like to blame each other. The rivalry between Baby Boomers and Millennials and, conversely, the supportive relationship between Millennials and Generation Z comes to mind strongly when looking at this show. Seg isn’t saving Krypton for himself; he’s doing it to make sure Superman is born, John Connor style. He’s given information about the future generation and working to ensure there is a world for it to exist in. Something we should ALL be doing. Not to get too dicey here, but there’s a reason the housing market collapse, and Toys R Us is going out of business, and social security is dwindling. and it’s not because Millennials aren’t having enough babies or buying diamonds or something. It’s because the practices of the previous generations were not sustainable. Krypton is about ensuring a sustainable world for future generations, especially if that future generation will raise “the greatest hero in the universe.” Krypton’s oligarchy and theocratic dictator have to go to ensure the survival of future generations.

Also sounds familiar.

4. It’s basically Game of Thrones in space

Okay, Game of Thrones is a teeny tiny bit more complex than this, but it’s pretty close. Objectively, they have similarities: noble families, intrigue, executions, espionage, trials by combat. But it just as that feel of the things Game of Thrones is trying to get at. It looks at a society that is very much in its twilight, Krypton is only a century or two away from its end and a government based on noble rank is tumbling down. It also deals with the archaic dangers of absolute rule and the need for a commonality between those in power and those below. They also both feature an otherworldly villain that might be the key to uniting everyone. Essentially, it’s political intrigue mixing with mysticism, in this case, we’re looking at sci-fi — very familiar sci-fi.

5. It’s full of Easter eggs, while not being oversaturated by them

We live in a world of overexposure here. Just look at the cast list for Avengers: Infinity War. Everything is about wider cinematic universes and having a Star Wars movie come out every five months (I can’t even pretend that I hate that). Krypton stays away from having too many winks at the audience. While there are plenty of traditional DC characters filling the ranks between the show’s original creations, there isn’t a bill of five superheroes fighting for the spotlight. Batman isn’t going to show up on Krypton, Wonder Woman isn’t going to drop in, there’s not some LexCorp van going by while Aquaman leaps from the sea. It’s a contained story. But it also does justice to the characters and entities it does utilize: Adam Strange, Brainiac, and Black Zero.

Basically, catch up on this show if you need a fix of intelligent Superman media with a healthy dose of social realness of female representation.

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Kelly’s Pick: Top 5 Female-Fronted Detective Shows [Guest Poster: Kelly Doran]

I spent my formative years watching Mary Kate and Ashley’s Trenchcoat Twins series on videotape and playing Nancy Drew computer games until way past my bedtime. So as you can imagine, nothing warms my heart more than seeing smart and powerful women kicking butts, taking names, and catching murderers. From Harriet the Spy to Miss Marple, there is no genre I love more. I have consumed a lot of girl detective content, so I like to think you can trust my opinions. After extensive, lifelong research, this is my list of the top five best female detective shows.



5. Nancy Drew (1995)

This Canadian TV adaptation of Nancy Drew reimagines the classic girl detective as a college student studying criminology in New York City in the 90s. This one is very much in the style of 90s teen shows, so it’s not heavy on blood and gore. There’s definitely more of a focus on “missing pop stars” types of crimes, and with 21-minute episodes, none of the mysteries are very fleshed out. My favorite part of this adaptation is definitely Nancy’s friendship with Bess and George, who help her with nearly every case. Bess is reimagined as the city’s most popular gossip columnist, and George as an aspiring filmmaker. Not to mention, Nancy sports some pretty great 90s style.



4. Rizzoli and Isles

This show has been around since 2010, but somehow I missed it until very recently, when it was recommended to me on Hulu. Rizzoli and Isles centers around Jane Rizzoli, a homicide detective, and Maura Isles, a medical examiner who is also Jane’s best friend. These are true murder mysteries with autopsies and dead bodies, so the squeamish might want to skip it. But in my opinion, the murders aren’t nearly as important to the show as the title characters and their relationship. Jane and Maura are best friends who seriously love each other. So what if Jane can be abrasive and Maura is better with dead people than live ones? They have each other, and it is so heartwarming to me.



3. Jessica Jones

Honestly, is there anyone left who hasn’t seen Jessica Jones? If so, what are you doing? Do you even have Netflix?! Krysten Ritter, one of our greatest TV actresses in my opinion, stars as the title character. Although this takes place in the Marvel universe, it bears little resemblance to Marvel’s big screen superhero action movies. This is dark and gritty noir, dimly lit and unglamorous. Jessica, as a survivor of rape (among other traumas), deals with PTSD in purple-colored flashbacks, and the use of color to note these moments is incredibly powerful. Again, one of my favorite aspects of this show is Jessica’s relationship with her best friend: a relationship that makes her stronger and gives her something to fight for. This show has endless twists and turns and enough suspense to keep you binge-watching way longer than you planned.



2. Veronica Mars

Although I have not given it the number one slot, Veronica Mars is probably my favorite TV show of all time. This is Kristen Bell at peak snark, and Kristen Bell can really do snark. Much like Jessica Jones, this show is unapologetic, classic noir, and it’s not afraid to be dark, or to shun neat, happy endings. Between murder-of-the-week mysteries, the first season sees Veronica on a mission to solve her own rape, her mother’s disappearance, and the murder of her best friend (played by a post-Mean Girls Amanda Seyfried). The show is impeccably paced and has incredible character development.

Veronica Mars never shied away from putting a very real and deeply flawed woman on screen; Veronica makes a lot of bad choices, but I always understand why she’s making them, and I never stop caring about her. There’s also some very cool and diverse mysteries that give Veronica the opportunity to play lots of different roles to get the information she needs. Veronica can morph from a clueless, ditzy blonde sorority girl to a nerdy gamer girl as the case demands, and it’s thrilling to watch. She’s also supported by some great supporting characters, including her best friend Wallace, and on-again-off-again love interest, Logan. This show was cancelled after the third season, and honestly, I will probably never forgive The CW for that. Luckily, there was a movie in 2014 to provide a little closure. If I could recommend any show to anyone, it would be this one. If I could spend the rest of my life watching Veronica Mars and nothing else on permanent repeat, I would do it gladly.



1. Murder, She Wrote

Although I love Veronica Mars as much as it is probably possible for one girl to love a TV show, if we’re going to rank lady detective shows, I must reserve the top slot on this list for the original, the classic, the quintessential, Murder, She Wrote. It is the story of a retired English teacher, Jessica Fletcher, who also happens to write bestselling mystery novels and solve crime (no big deal). You guys, we do not deserve Dame Angela Lansbury. My grandmother watched this when I was a kid and yours probably did too. Let me tell you, our grandmothers have impeccable taste because Murder, She Wrote is an unmitigated delight. There is nothing in this world cozier than brewing a cup of tea, wrapping yourself in a duvet, and watching Angela Lansbury as Jessica Fletcher solve murders in chunky cardigans.

(She really does have an incredible selection of cardigans, and I am not the only admirer of her style. There is an entire fashion inspo Instagram dedicated to looks from Murder, She Wrote called @murdershelook. This is 100% not a joke and I recommend that you follow it immediately.)

This is a cozy kind of murder mystery show — the mysteries wrap up neatly, there’s always a happy ending, and Jessica’s always ready to go on and sleuth another day. In a chaotic world, Murder, She Wrote provides some comforting order.

What are your favorite female-fronted detective series? Sound off in the comments below!

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5 Reasons the Dirty Dancing Remake Isn’t Worth Your Time [Contributor: Jenn]

(Photo credit: Entertainment Weekly)

In 1987, people all around the world fell in love with a guy named Johnny and a girl named Baby as they danced our way into our hearts (while steaming up the screen a little bit). "(I've Had) The Time of My Life" is an incredibly iconic song and scene thanks to this film, after all. And if you say the two words "the lift," everyone will know exactly what you mean. It's had numerous recreations — I am partial to the one in Crazy Stupid Love — and the love story between Johnny and Baby remains as beloved and recognizable as the dancing in the film. So when I received an email that ABC released the screener for their made-for-television remake of Dirty Dancing, I had to check it out — even if just out of morbid curiosity.

I kinda wish I hadn't.

There are a lot of reasons that movies shouldn't be remade. People are usually pretty sentimental and attached to a film they once saw, especially if it's a classic or a cult hit. Therefore, any attempt at a remake should stem from a place of love and respect for the source material. It's a fine line to walk: not recreating a film shot-for-shot, but also not straying so far away that it's unrecognizable from its predecessor. There are some good remakes out there (the new Beauty and the Beast was a faithful adaptation), and some bad ones (here's looking at you, Sound of Music: Live!). ABC's Dirty Dancing resembles, pretty similarly, the classic film from the 1980s in structure and plot — even in spite of some divergences. But it's a flat, uninteresting version. Plus, ABC's version attempts to add a meta twist to the story which will (if you're anything like me) induce rage in the viewers.

Let's break down the five reasons why this remake isn't worth your time. Beware: Spoilers abound for the twist that the 2017 version contains. (Yes. Spoilers.)

(Photo credit: Entertainment Weekly)

1. ABIGAIL BRESLIN IS NOT BABY.

When I heard that Abigail Breslin would be playing Baby, I was very confused. I think Breslin is an incredibly talented actress when she's in the right roles (Little Miss Sunshine, My Sister's Keeper, and even the campy Scream Queens). But Baby is not that role for her. And that's because Baby is an incredibly complex character to pull off. She's supposed to be naive and a little bit standoffish when she meets Johnny. She is also meant to be stubborn and insecure. We watch her become more of a woman throughout the film because of her relationship with Johnny. She's in that age where she's trying to balance how to go from being a girl to a woman (Britney Spears even wrote a whole song about that weird phase of life).

Jennifer Grey's version of Baby is, likely, the only one most of us know — or at least the one we connect most deeply with. Breslin had an incredible set of shoes to fill, and the problem is that the version she portrayed didn't really connect with me. Rather than just being a bit green, Breslin's Baby is more bookish than her 1980s counterpart and is trying too hard to fall into her father's footsteps (it's... weird and kind of implied that Baby has deep daddy issues).

That would be fine, but this version of Baby doesn't feel like she has much to her apart from "has very little life experience." She's supposed to be an earnest character and a nice one, but she mostly just comes across as soft-spoken and skittish. Breslin plays her pretty even-keeled which is a disappointment because in spite of her lack of life experience, Grey's Baby was actually pretty fiesty and fiery. This Baby is just bland — flitting in and out of scenes. And that makes her transformation by the movie's end: a) not dramatic enough and b) not earned.

Again, Breslin is incredibly talented but this was not the role for her at all. She seems to spend most of the film unsure of how to play Baby, and the dialogue is incredibly stilted and forced. Nothing about Baby feels easy or natural or believable, and that's a shame considering she's the protagonist of the film.

(Photo credit: Entertainment Weekly)

2. THE SUPPORTING CHARACTERS ARE MORE INTERESTING THAN THE MAIN ONES.

When the supporting characters get more story than the main characters, you know there's a problem. I actually found myself to be more invested in Penny (the incredibly talented Nicole Scherzinger, who is carrying this movie on her shoulders) and Marjorie (Debra Messing is quite good) and even Lisa (Sarah Hyland surprised me in this role) than the lives of Johnny and Baby. I talked above about Baby and my issues with her characterization, but Johnny also leaves a lot to be desired. For starters, try as he might, Colt Prattes' Johnny comes across more as a tortured Greaser than a sultry dance instructor. It's impossible to fill Swayze's shoes, but this version of Johnny feels a bit dull. His devotion to Penny is admirable and earnest, and his care for Baby is evident. But I don't quite buy into his story, or lack thereof, like I do in the original. Johnny's only real "story" is that he wants to eventually (maybe) be a choreographer.

But that's it.

Johnny and Baby's love story feels rather dull and dry, while the story that plays out between Marjorie and her husband is incredibly complex (and given a lot of screentime, actually). Even Lisa's story feels like it was more developed (with her initially dreaming of marriage, then having those dreams crushed when she saves herself from being assaulted by Robbie, then develops a sweet relationship with Marco) than the main characters'. I guess I just expected to be more impressed and engaged with the main love story than I actually was.

And speaking of story...

(Photo credit: Entertainment Weekly)

3. THE REMAKE ADDS NOTHING FRESH TO THE STORY.

The problem with remakes is that they're usually shouts into the void — they don't add anything new to the story (again, apart from the end of this movie that can be argued) and are made simply because it's been X amount of years since the original and it's due for an overhaul. Details within Dirty Dancing's story do actually shift around a little bit from the original. For example, the way that Johnny gets accused of theft is very different, and Robbie's character has a different story in the remake than the original. Details are altered but they're small enough that they don't really affect the overarching plot. Though honestly, Robbie's character in this remake seems less aggressive but no less irritating than the original.

Dirty Dancing's remake isn't really adding anything new to the canon with this one... apart from the fact that the characters break out into song. Sigh.

(Photo credit: Entertainment Weekly)

4. THE DANCING IS... OKAY?

The film is called Dirty Dancing for a reason, but I didn't really buy into the dancing (unless Nicole Scherzinger because she's fantastic), and wasn't blown away by it in the slightest. The group dance scenes were pretty decent — though nothing incredibly spectacular. And as I mentioned above, the infamous lift was incredibly anticlimactic. Unfortunately, I don't really know that Abigail Breslin is the right choice for the role of a dancer. If you choose to watch the film, I assume you will feel the same way.

That's it, kids. That's all I have to comment on.

(Photo credit: Entertainment Weekly)

5. THE STORY SHIFTS AT THE END.

Be warned now, I'm about to spoil the end of Dirty Dancing for you.

"But Jenn," you'll say, "this story has been around for over 20 years. There's no way you can SPOIL it." And you, dear reader, would be right. ... If this version hadn't taken some creative liberties with Johnny and Baby's story. For starters, the film begins with an older version of Baby attending the musical, Dirty Dancing. (Gee whiz, how meta of them.) The entire film is told in flashback, as Baby reminisces on that summer that led to the creation of the aforementioned musical.

After the now-famous "(I've Had) The Time of My Life" dance scene at the end, there is more to the story. Gasp, right? As if we forgot — and I actually did — the movie doesn't end there. Instead, we return to a present-day Baby sitting in an empty theatre. Everyone has left the musical, and she's sitting there still smiling at the screen. As she goes to leave, who should she run into but Johnny, now older and a successful choreographer. Of course, he's the one who choreographed the show. While she's talking to Johnny, a young girl runs up to Baby.

It's Baby's daughter.

Johnny and the audience are taken aback, but we have no time to react because there's more! A man walks up to the group and introduces himself to Johnny. It's Baby's husband. Baby confesses that she really doesn't keep up with dancing anymore apart from taking a salsa class at her local JCC (is Baby actually Jewish? Is her new husband?). Johnny and Baby part ways, but affirm that they'll always remember the one summer they had together.

AND THAT IS HOW THE STORY ENDS.

I wanted to throw something at my screener, because somehow this reboot couldn't stick to the original ending and broke up an incredibly iconic couple for the sake of... what? A plot twist? A "realistic" ending? I'm all for realism in fiction, but this remake took it too far. Instead of focusing on the love story between Johnny and Baby and ensuring that it was presented in the best way it could be, this movie decided to throw a wrench in all of that and end with the two separated. When I chastised the film above for not adding anything fresh to the story, this was not what I meant. "Fresh" should be developing characters further or adding new voices to the film. It shouldn't be to rewrite history.

That's like if a Grease remake would end with Sandy choosing to remain the "good girl." Or a Sound of Music remake ending with the entire family getting trapped in the convent. Or a Footloose remake that ended with no dancing.

I'm a romantic, but am okay with movies ending without a main couple getting together — as long as it makes sense for the story. But with Dirty Dancing, the only reason that this 2017 prologue and coda exist are because the creators CAN, not because they SHOULD.

Sorry (not sorry), Dirty Dancing, but you are not worth anyone's time.

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5 Reasons To Binge-Watch The Young Pope [Guest Poster: Erin Allen]

As some shows air their finales, you may be looking for something quick to binge before other shows premiere. The Young Pope is ten, one-hour long episodes which would make an easy weekend binge — or, a one-day affair, if you’re feeling ambitious. Here are my reasons why you should check out The Young Pope.

(I apologize in advance for the many religious puns.)

1. It is a work of art.

It’s like a gorgeous foreign film and a cult TV show had a baby — or a chill, less crowded Heironymus Bosch painting come to life. The cinematography is grand and opulent. Most frames are works of art in and of themselves. Sometimes there is a bizarre element that adds a fun bit of quirkiness, such as Pope Pius decked out in luxurious papal robes with a pair of fierce shades to top it off — pontifical haute couture. It is definitely a (high holy) feast for your eyes.

While it feels like old world art reimagined for the hipster era, there are references and appearances of real art from the past. My high school art history came rushing back to me. The Venus of Willendorf is practically a character in some scenes. “The Bearded Woman” by Jusepe de Ribera appears frequently and becomes a part of the narrative.

The title sequence has the Pope sauntering down a hallway of masterpieces. As he passes, a shooting star hurtles through them, bringing each of them to life, and ending as a meteorite in a replica modeled after the controversial sculpture, “The Ninth Hour” by Maurizio Cattelan. If you are curious about the history behind the works depicted in the opening like I was, here are all ten explained.

As I started to read up on these pieces, my mind became a frenzied metaphor-making machine. The correlations one could draw between the story and the art were endless. One can read into the artistic piece one way as well as the plot and the characters’ motivations creating an infinite supply of analogies. Although it is overwhelming enough to give you a Vatican City-size headache, I found it to be a really enjoyable aspect, in a mind-bending kind of way.

2. The many "what the what?" moments.

The Young Pope is filled with moments that make your jaw drop and your eyeballs morph into question marks. It would be a great watercooler show if it had the larger audience it deserves. (Aside: are there still watercooler shows in this DVR/Netflix age?) From a kangaroo to a mountain of babies to Cherry Coke Zero, it never ceases to shock and awe the viewer.

About ninety percent of the time I’m not quite sure what is going on, or why characters are doing what they are doing. You would think this would be annoying, but it’s really not. Even the most straight-forward of characters will do something crazy, at some point. A lot of the time things happen when you least expect, but that happens so much that you start to anticipate the oddities, and even then they still catch you off guard. It’s quite amazing, actually.

Take, for example, a somber scene where Lenny goes to Sister Mary’s room to find out more about the parents that left him at the orphanage when he was a child. Lenny confides that the loss of his mother and father weighs heavily on him and shakes his faith in God. Serious stuff, right? Well, during this scene Sister Mary is wearing a t-shirt that says, “I’m a virgin, but this is an old shirt.” My Lord, that is cheeky! And I am here for it.

Also, this friggin’ show has me shipping a cardinal and a nun. What the what?! But, they really are sweet. “Whoever said that a man can’t love God and a woman at the same time? That’s bull----.”

3. The big themes.

As you would expect with a show that centers on a major religion, a lot of big themes are explored. Good versus evil, morality, love, and politics. It also makes it very relevant to what is going on in our world today. In “Episode 1,” we see Pope Pius give a speech to the crowd in St. Peter’s Square. He covers many of the human rights issues that we are discussing today. The Young Pope gets you thinking about big concepts in different ways.

A major thread through this first season is about parental bonds. A lot of what motivates Lenny stems from being an orphan. He struggles with what being parent-less means, and how it has shaped him. This storyline is rich in subject matter, and, in my opinion, the least interesting. That says a lot.

I was raised a Catholic, and went to a Catholic school for nine years. The existence of God and the role He might play in my life is something that I’ve thought about my whole life. I really love the way the show plays with this larger-than-life theory and belief. It is fascinating to see these characters who are literally “holier than thou” wrestle with the same ideas.

4. The casting.

Leading roles and bit players alike serve up astounding performances. I don’t think a single actor dropped the ball on their character even once, no matter how small the part.

Aside from Jude Law, Diane Keaton and James Cromwell are the other household names. Diane Keaton plays Sister Mary, the Pope’s closest confidant. Like Lenny/Pope Pius, you are never truly sure of her intentions. She is mysterious. Keaton balances the docile and the strong qualities within her character well. Cromwell has grace and command over his power-hungry Cardinal Spencer.

Silvio Orlando and Javier Cámara seemed to come out of nowhere and bowl me over with their talent. Both men gave real and moving portrayals of cardinals who work closely with the Pope. They approach their positions in the Vatican very differently. It was compelling to see them interact with Pope Pius, but also see them on their own.

Scott Shepherd, Cécile De France, and Ludivine Sagnier had small but significant roles. I’ve been a fan of Sagnier since I saw her in Swimming Pool, but I haven’t really had a chance to see her in anything else. She plays the innocent Esther with an unassuming air. The Young Pope is full of duplicitous people even though they are touted as the holiest of them all. Esther’s purity offers a unique peace in the ever-changing affairs of the Church. De France’s portrayal of the Vatican’s publicity manager is similarly refreshing. We know exactly what she wants, but she is not shady in her ways of trying to get it. Shepherd as Lenny’s childhood friend and colleague is at once a voice of reason and a deeply conflicted individual.

Everyone pulls their weight and it is invaluable to the show. The Young Pope is a high-concept series with intelligent writing and beautiful cinematography. It could easily relax in this area, but instead it excels.

5. Jude Law

Jude Law as the titular character has an enormous job. He seems to handle it effortlessly. Lenny Belardo, Pope Pius the XIII is unlike any other character on TV. He has so many different facets of his personality and none of them feel false. He can be a pious and vengeful leader and a saintly ally. He can act like a pouty teenager and a scared child. He can instill fear or courage in the people he meets. He can do all this and more. He can be many things within the span of a scene and it comes off as believable. Law crafted this character in such a way that this manic, yet disciplined behavior is authentic and unique to him. I hope Law had fun with it. It certainly seems that way, and it is definitely fun to watch as a viewer.

There is a scene which I spoke about in the TV MVP Series that still cracks me up just thinking about it. The amount of expressions and reactions he affects in mere seconds is astonishing. And each expression is totally reasonable under the circumstances. You could probably get a hundred reaction GIFs out of it.

Law took this complicated and often contradictory character and brought him to life in a surprising and entertaining way.

I really enjoyed this limited series. It’s an entirely different TV viewing experience than my usual fare. I liked the challenge it gave me to think outside the box. It’s both a comedy and a drama. It’s both reverent and irreverent. There are many qualities that make it worth a watch. Oh, and did I mention there is a kangaroo? It can be a drinking game. Drink every time you see the kangaroo. My whole adventure with The Young Pope was a blast and I highly recommend checking it out.

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