Ten years later and the young adult series “The School for Good and Evil” is as nostalgic as ever, writes book columnist Tomi Oyedeji Olaniyan CM `23.
Tag: Netflix
Regularly scheduled programming: ‘Derry Girls’ shows the beauties and hilarities of teenage girlhood
Irish comedy show “Derry Girls” is a hilarious depiction of teenhood during The Troubles, writes TV columnist Claire DuMont SC `23.
Frame rating: ‘Don’t Look Up’ is a disaster of astronomical proportions
“Don’t Look Up” is a clunky attempt at critiquing climate change, writes film columnist Gerrit Punt PO ’24, and you’re not automatically a climate denier for not liking it.
Front of house: Dave Chappelle’s downfall is a crash course in cancel culture
Cancel? De-platform? Pop culture columnist Caelan Reeves CM ’24 breaks down the difference using Dave Chappelle’s recent downfall as a case study.
Let’s spill the pop culture tea: ‘The Chair’ gets academia right more often than not
Pop culture columnist Anna Tolkien CM ’24 reviews the authenticity of the world of academia presented in Netflix’s “The Chair.”
Scene it: Watching ‘Sweet Tooth’ was like pulling teeth
From uncanny visuals to a lifeless plot, “Sweet Tooth” is not worth your watch, TV and film columnist Rorye Jones PO ’23 argues.
Film philosophy: ‘Love, Death & Robots’ values individual change over unrealistic goals
The episode “Pop Squad” from “Love, Death & Robots” asserts that we are responsible for individual-level change when societal change is unfeasible, argues TV columnist Simone Bogedal PO ’24.
Scene it: The only mystery in Netflix’s ‘Rebecca’ is why it exists
If you’ve been thinking about watching Netflix’s “Rebecca” (2020) — don’t, warns TV and film columnist Rorye Jones PO ’23.
Front of house: The underwhelming excess of ‘Ginny & Georgia’
Netflix’s “Ginny & Georgia,” with its dramatic fake-woke dialogue and excessive plots, turns out underwhelming, Caelan Reeves CM ’24 writes.
Scene it: The constructive modernity of ‘Bridgerton’ should not have stopped at consent
With modern social attitudes and glittery costumes, “Bridgerton” caters more to moral messages than historical accuracy — so glossing over rape sticks out as a major error, TV and film columnist Rorye Jones PO ’23 asserts.