We hope you like your cosmos with a side of drama as “And Just Like That..” has officially dropped onto HBO Max in the States and onto Sky TV and NOW in the United Kingdom,
Are you ready for the next Chapter of Sex and the City!.
This chapter follows Carrie (Sarah Jessica Parker), Miranda (Cynthia Nixon) and Charlotte (Kristin Davis) as they navigate the journey from the complicated reality of life and friendship in their 30s to the even more complicated reality of life and friendship in their 50s.
The first two episodes “Hello It’s Me and “Little Black Dress” are now streaming on your countries chosen platform and from the start this HBO Max Original has done a decent and glamorous job of brining Sex and the City into the modern era, as the series is infused with a new familiar story, but is very much rooted in the classic SATC. It’s diverse and features a social/Cultural awareness especially with the use of instagram, podcasts, and a nod to this pandemic as the iconic trio talk about their time with their husbands during lockdown and the new hobbies and traditions they started that seem to have stuck with them.
Thursday’s premiere truly catches us up with old friends in post-pandemic New York as they wait for a table at a crowded restaurant. All are navigating through their fifties as this new chapter of their lives explore and deal with grief, journey, friendships and the pressure of perfection to achieve career wise, whilst entering a new territory.
It was nice to spend time this morning with Carrie, Charlotte and Miranda again. The actresses Sarah Jessica Parker, Kristin Davis, and Cynthia Nixon truly step right back into their roles and their banter is just as quippy as ever, However “And Just Like that…” gets off to a dramatic end as we’re guided through a catch up which was necessary to pick up a story many years later after it ended. What was introduced during 1998-2004 was a newfound love and obsession with cosmopolitan cocktails, designer shoes and brunches is still featured but the sparkly fizziness from the original is absent and what follows is a much more mature self aware series.
Notably absent from the series is Kim Cattrall’s fabulous Samantha who SPOILER ALERT has moved to the UK for work as Miranda confirms to their friend Bitsy, that no Samantha isn’t dead, the publicist has just moved overseas. From the get-go her absence seems to be part of the shows overall storyline as it showcases female friendships and the including that they don’t always last forever.
But just as people leave in real life, new friendships start as “And just Like That…” introduces us to a host of new characters who fit perfectly into this world, We meet Charlotte’s mum friend Lisa (Nicole Ari Parker), Miranda’s law professor Nya (Karen Pittman and Carrie’s queer podcast host Che (Sara Ramiez).
With introducing new characters, the series also gives us a reunion with returning characters we know and love, especially the beloved and iconic Stanford a delightful role played by the late Willie Garson and his fiery fierce husband Anthony (Mario Cantone) who try to put a fight behind them by embracing and acknowledging how lucky they are to have each other.
Carrie the former newspaper sex columnist is now a social media connoisseur and professional podcaster. She and Big (Chris Noth) are having a loved-up experience complete with wine, record player, Peloton, and Carrie’s extensive walk-in wardrobe. She’s posting New York fashion onto her Instagram and contributes to a sex and relationships podcast.
Attorney Miranda is going back to school to become a human rights advocate, Miranda has her own awkward moment at her first day in class and dabbles with alcohol dependency. She’s constantly all over herself not to appear racist. Though she also has to deal with her sexually active son. also returning is Steve Brady, Miranda’s on-again, off-again boyfriend, by whom she becomes pregnant with their son.
Charlotte is still Charlotte in “And Just Like That..” she’s prim and proper with daughters Lily (Cathy Ang) an overachiever and Rose (Alexa Swinton) more rebellious and failing to conform with her mothers brand of femininity. She’s also examining the last decade and a half of leaning into motherhood.
The show still features its iconic humour and this new chapter certainly has potential to explore the next chapter of their lives which I can’t wait to see. After the first two episodes, just like that my heart is broken!.
“And Just Like That…” is now streaming on HBO MAX, Now and airing on Sky Comedy!
Heartstopper Review | An Irresistible Gay Teen Drama
Based on Alice Oseman’s beloved graphic novels, Netflix’s bite-sized adaptation of Heartstopper continues to kick the door wide open for queer stories on the small screen. In the same vain as Young Royals and Dear Victor, Heartstopper’s exploration of queer teen romance is just as endearing, if not made more real and lovable by some incredible performances by Joe Locke and Kit Connor who play the show’s main high-school sweethearts.
Heartstopper owes its incredible binge-factor to its main focus on the story of two British teens at Truham Boys School, Charlie (Locke) and Nick (Connor) and how their entanglement perfectly represents the highs and lows of young romance. Manoeuvring alongside our main characters’ connection are some other, deeply adorable queer-centric stories – from a pair of secret lesbians at the nearby all-girls grammar school, to the perspective of a trans girl navigating life outside Truham; all of which tangle throughout the show’s eight chapters, giving a genuine take on teen love and friendship during the digital age.
While Euphoria is a ridiculously over-the-top representation of high school life with actors well-in their twenties playing teens, Heartstopper instead follows leads and supporting characters that feel like real teenagers, which doesn’t help the waterworks when it comes to some incredibly emotional moments in the show.
What the show decides not to focus on is sex and swearing, which is usual when it comes to these kinds of stories. Instead, Heartstopper goes down a more wholesome route, diluting some of the web comic’s more serious topics in favour of a more family-friendly teen drama. That’s more than acceptable, but it may leave the show not exactly suitable for everyone for how young it is leaning, despite how charming it is. It’ll be interesting to see how the web comic’s strong fanbase take to these changes, but it feels like a good move for the most part.
That being said, Heartstopper brilliantly doesn’t leave out realistic aspects that come to growing up queer in Britain; our main characters are never far from bullies or trolls. With how young the show’s audience is targeting towards, this feels like a great move on showing how to approach these pressures that make-up everyday life for teenagers.
Overall, Heartstopper is easily destined to prove a success for Netflix; from the authentic feel of all the friendships and relationships depicted to the enjoyable ride that comes with all eight chapters, this show is a welcome addition to the increasingly queer canon that is flying into the mainstream.
The Unbearable Weight of Massive Talent Review | A Meta Lucid-Trip
Nicholas Cage stars as Nick Cage in the action-comedy The Unbearable Weight of Massive Talent. Creatively unfulfilled and facing financial ruin, the fictionalised version of Cage must accept a $1 Million offer to attend the birthday of a dangerous superfan (Pedro Pascal). Things take a wildly unexpected turn when Cage is recruited by a CIA operative (Tiffany Haddish) and forced to live up to his own legend, channelling his most iconic and beloved on-screen characters in order to save himself and his loved ones. With a career built for this very moment, the seminal award-winning actor must take on the role of a lifetime: Nick Cage.
From filmmakers, Tom Gormican and Kevin Etten, The Unbearable Weight of Massive Talent is a sincere, authentic, and hilarious love letter to Nicholas Cage. It’s also an absolute hoot and delightfully bonkers as we take a rollercoaster ride through his iconic filmography. Full of quirky and heartfelt moments, the film showcases the most uncaged performance from the man himself as, after all, it’s the role he was born to play.
Nicholas Cage is nothing less than a screen legend whose iconic pictures include The Rock, Face/Off, Con Air, Moonstruck, Honeymoon in Vegas, and Academy Awarding winning turn in Leaving Las Vegas. The Unbearable Weight of Massive Talent builds upon that renowned work and twists and turns it with an imagined “Nick Cage”. He’s able to do any genre from romantic comedies, avant-garde films like Mandy and Wild at Heart, and big tentpole franchises such as National Treasure.
The film is a homage to his body of work and the genres that he’s worked in. He’s a man known for taking risks early in his career that paid off handsomely but in the later years, he’s taken to independent film work some heading straight to streaming. Mandy, Joe, Prisoners of Ghostland and Pig are among my favourites. Each is interesting ranging from unusual to insane.
In the movie “Nick Cage” is a fictionalised version of the star, imagined as a once-highly respected actor who has fallen on hard times and is craving a return to box office glory and prestige. But his waning career is only one of his problems. The faux Cage’s megalomania has poisoned his relationships with his ex-wife Olivia (Sharon Horgan) and daughter Addy (Lily Sheen), unfortunately, though he can’t see it as the fictional Cage is feeling unfulfilled and rejected. This is in contrast with the real Nicholas Cage who recently received his best reviews for his performance in Pig
Nick becomes frustrated and a little unhinged, when he loses out on a role that he’s desperate to inhabit so when his smarmy agent played by Neil Patrick Harris extends him a lifeline with an offer to attend a birthday party for a cool payday of one million dollars, Nick despite his instincts reluctantly agrees, and hops on a plane to meet the birthday boy/ cage superfan in picturesque Mallorca, Spain.
Upon arriving in Mallorca and being greeted personally by Javi, Nick is completely checked out until he discovers that he and his host have much in common and begin to bond. Both are cinephiles and share a love of everything from The Cabinet of Dr Caligari to Paddington 2.
That’s not all they have in common. The wealthy man is just as neurotic as his guest of honour and they both find themselves looking for inspiration from the actor’s famously bold audacious characters.
The Unbearable Weight of Massive Talent is an intriguing change of pace for Pascal, he inhabits the role of Javi, but as neurotic as he is the character turns out to be an international arms dealer and crime boss. Both Cage and Pascal have incredible chemistry together and truly form a bromance. They are so much fun together and unapologetic about their shared admiration. It is infectious.
The Unbearable Weight of Massive Talent was such a hoot & delightfully BONKERS!! a rollercoaster ride through Cage’s iconic filmography & full of quirky & heartfelt moments The most uncaged performance was suave in this meta lucid trip.
Sex Appeal Review | An Interesting Enough Premise Gets Squandered in Predictable Platitudes
A quasi-R-rated version of “The Kissing Booth” surprisingly works? Color me shocked.
In a world filled with horrible teen coming-of-age comedies which re-tread John Hughes and other popular 80s comedies, Hulu’s Sex Appeal probably wouldn’t have worked. As it stands, the movie is interesting enough to make a distracting impression upon ourselves, but it’s nowhere near as sharply written as any of the mid-1980s/late-1990s coming-of-age comedies it keeps referencing.
In any case, the best comparison I can give you is that its plot feels eerily (though not completely) similar to Netflix’s The Kissing Booth trilogy, though without any of the cringe and a legitimately compelling “best-friends” relationship. The “best friends” in question are Avery (Mika Abdalla) and Larson (Jake Short), who have had a close-knit relationship since childhood…until Larson decided to “make a move” at the age of 14, immediately rejected by Avery. Our female protagonist narrates the entire story like Joey King’s Elle Evans in The Kissing Booth and has a pretty narrow-minded view of everyone and everything. Basically, she only cares about herself. Avery will register for STEMCON, an annual youth scientist (?) convention, to which attendees will have to build an app that responds to their personal problems.
Avery’s “problem” is that she can’t have fulfilling sex with anyone and forcefully takes Larson as her Guinea Pig to experiment with diverse types of sex on him and her, to which we metaphorically see what happens inside IMAX-like dream sequences. A plot as preposterous as this shouldn’t work, but it kinda does. Of course, it’s a story we’ve all seen before, with the egotistical female character going on a journey of self-discovery and finally realizing that life doesn’t solely revolve around her, and that humans have feelings. By developing the app, she fails to realize the most important human element of all, love, because Avery is incapable of feeling love…until her experiment gets her to realize what love is and how it feels.
Yes, director Talia Osteen and co-writer Tate Hanyok use sex as the driving force for Avery’s realization that her app should be all about love, and not all about sex. And she’ll learn this by having sex with someone she genuinely cares about but doesn’t want to admit that she has feelings for. Why? Because she had to focus on her studies? That feels like such a BS excuse, but the plot warrants it anyways. So yeah, once you get a gist of Avery and Larson’s “friendship that morphs into a quasi-relationship”, you can tell exactly where this movie is going, without fail. She has a non-existent relationship with her boyfriend (Mason Versaw), and can’t even feel love even if she also uses the app with him as they do it. Doesn’t she know what love is, or is she incapable of feeling it because she doesn’t want to? This is the central question Sex Appeal asks, and it surprisingly works twofold.
Firstly, the chemistry between Abdalla and Short is insanely palpable. In The Kissing Booth, the movie already doesn’t work because the chemistry between Joey King/Jacob Elordi/Joel Courtney feels unbelievable like they all belong in different movies (the writing is also a problem, but whatever). You can relate to Avery and Larson because their relationship feels real. And so it’s easier to get on board with an insanely predictable story if the acting holds the fort, to which it does greatly. Even the smallest supporting roles can bring surprising laughs to the mix, and genuine heart, which this movie has tons of. Its heart is in the right place, and the acting is decent enough for you to care about the characters’ plight, even if we’ve seen it all before.
Secondly, the film’s aesthetic is original enough for the movie to rise above the platitudes it presents in its script for metaphorical sex sequences that are way more interesting than, say, if Avery and Larson solely had sex. Osteen prefers to open up the 2.39:1 frame to 1.90:1 during these dreamlike sequences to represent how Avery feels during the time she “experiments” on Larson, which ultimately makes her realize all the love she has for him, especially when she tries to do the same thing with Casper (Versaw) and, lo and behold, it doesn’t work. I appreciate the work of filmmakers who try different things than the usual paint-by-numbers coming-of-age sex comedy, without an ounce of creativity in its filmic representation of a protagonist’s state of mind, especially when it works, even if it may be on the nose for some. Sure it is, but it works nonetheless.
So it’s surprising to see how engaging the movie is when the acting and the aesthetic work together and actually deliver a pretty good time at the movies, even if it’s a movie that we’ve seen before, done better. Where Sex Appeal fails in its story, it more than makes up for it through its creative aesthetics and terrific performances from Mika Abdalla and Jake Short, which in turn makes it a rather transfixing watch. It’s not the greatest movie in the world, sure, but it does its job right and the film’s heart is in the right place. What more can you ask for?
Sex Appeal is now streaming on Hulu.
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