Sneha Jaiswal's Blog, page 110

Dystopia – Short Horror Film Review

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Director: Laura Ugolini

Writers: Maria Galliani Dyrvik, Anja Skovly Freberg, Laura Ugolini

Four women convene to craft their ideal man, akin to a Ken doll, resorting to grotesque methods to manifest the epitome of male beauty.

Set in a hyper-colorful, neon-drenched world of kitschy fashion, the short horror film “Dystopia” presents protagonists adorned like Bratz dolls in an adult milieu—neither too risqué nor exuding teenage energy. The film begins with unsettling music, which is revealed to be the sound of a woman filing her nails. This seemingly innocuous detail foreshadows a gory little twist which takes place the very next minute.

Initially, we encounter three women, all conventionally “pretty” in appearance. They are later joined by another, whose extensive surgical alterations render her a caricature of Donatella Versace post numerous facial surgeries. Together, these four embark on a grisly endeavor.

Spanning about five minutes, the film doesn’t induce fear, but rather evokes imagery reminiscent of “Frankenstein” colliding with “Barbie” at RuPaul’s Drag Race. However, “Dystopia” concludes with a clever twist that prompts contemplation on the creators’ intended message. It serves as a campy commentary on unrealistic beauty standards prevalent in a social media-saturated world, where individuals—both young and old—are driven to extreme measures to achieve a desired “aesthetic” look.

Rating: 6 out of 10. You can watch “Dystopia” on YouTube.

Silver Vessels – Graphic Novel Review

Rating: 2.5 out of 5.

History buff Joshua persuades his teenage best friends, Hunter and Hope, to join him on a trip to the Florida Keys for summer vacation at his grandfather’s place. What his friends don’t know is that Josh needs their assistance in locating the legendary treasure of Our Lady of Atocha, which is said to have sunk with a Spanish fleet of ships in 1622 following a hurricane. So when the teens arrive at the beach town, there’s a lot of sneaking around, roaming about, and fibbing to locate lost gold, silver, and maybe more.

Created by Steve Orlando and Katia Vecchio, the graphic novel “Silver Vessels” is a far-fetched tale about three teens embarking on a wild treasure hunt that leads them to a shady but powerful organization also seeking the same treasure. While I don’t mind the exaggerated elements, the teens’ adventures aren’t fun at all. Everything in this graphic novel feels contrived, especially most of the conversations between the characters, who all take turns being “inspirational coaches” for each other.

The artwork is colorful and cute; however, the character illustrations of Josh, Hunter, and Hope make them appear to be ten-year-old kids, definitely not older. And because the protagonists look like preteens, their teenage personal issues and sub-plots don’t mesh well with the artwork. Which reminds me of another issue with the story – there seems to be far too much focus on Josh’s grandfathers, and more pages should’ve focused on the friendship between the primary trio.

Overall, “Silver Vessels” is a decent one-time read for younger readers, but the ‘treasure hunt’ aspect of the tale was very random and underwhelming.

Rating: 2.5 on 5.

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Ae Watan Mere Watan – Sara’s Frequency Falters in Radio Drama

Rating: 2.5 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Director: Kannan Iyer

Writer: Darab Farooqui, Kannan Iyer

“This is the country’s radio calling on 42.34 meters (wavelength) from somewhere in India to somewhere in India.”

The 2024 Bollywood movie “Ae Watan Mere Watan” is a historical drama set in the 1940s, celebrating the life of real-life freedom fighter Usha Mehta (Sara Ali Khan). Alongside her close associates, Usha founded an underground radio station to sustain the “Quit India Movement” against the British. This initiative was after the arrest of Gandhi, Nehru, and several other leading Congress leaders for “unlawful activities,” leading to the declaration of Congress as illegal.

While “Ae Watan Mere Watan” starts with a tense teaser scene of Usha evacuating a building, the moment shifts to a flashback, where Usha is introduced as a feisty little school-girl, who witnesses British authorities brutally beating her teacher and she is the only brave student who attempts to shield him. She grows up to be a Congress activist, firmly believing in the need for India’s independence, even though he own father is a judge under the British Raj.

Sachin Khedekar convincingly plays Usha’s father, who attempts to be a disciplinarian and prohibits his daughter from taking part in Congress’ activities against the Raj, but the rebellious Usha defies him. Despite a ban She goes on to start her own underground radio channel to help fan the “Quit India Movement” and reach millions of Indians. But Sara Ali Khan’s inconsistent portrayal of Usha Mehta is the undoing of this historical British era drama, which despite its interesting premise, is weighed down by its lead actor.

Khadi sarees, braided hair, and a bindi aren’t enough to portray a firebrand. Sara’s depiction of Usha oscillates between serious and laughable. “Come, let’s go hoist our flag,” Usha exclaims in a burst of patriotic fervor, urging her comrades to raise the Indian flag as the British lower it. I couldn’t help but laugh at that moment because it was meant to be emotional, yet Sara’s delivery resembled that of a school play. Emraan Hashmi, who viewers are used to seeing in steamy romances, was a lot more convincing, and believable in his supporting role as freedom fighter Ram Manohar Lohia. Lohia serves as both an inspirational figure and mentor to Usha and her band of friends in “Ae Watan, Mere Watan.”

The cinematography of the film partially succeeds in evoking British Era India; however, there are glaring elements that do not align with the historical timeline. For instance, in 1942, a character is depicted wearing a low-cut crop top with flared sleeves and a mini-skirt, reminiscent of the “Bobby” look popularized by Dimple Kapadia in her 1973 film “Bobby.” It’s puzzling that no one on the film crew noticed the outfit’s anachronistic nature. While seemingly a minor detail, it stands out conspicuously.

Anyway, it isn’t like “Ae Watan Mere Watan” is a historically accurate account of Usha Mehta’s life or how her clandestine radio channel came to be. A disclaimer at the beginning of the film highlights the fact that this is only “inspired by real events”, so the writers take quite a few creative liberties with the plot, including an unnecessary small romantic sub-plot. The climax features an almost childish conflict between Usha and a friend regarding a daring mission that would undoubtedly result in their imprisonment or even worse consequences. Again, the scene was unintentionally funny, and the dialogue writing was un-inspirational.

This movie made a commendable effort to honor lesser-known freedom fighters. However, with some adjustments in casting, improved dialogue, and deeper research, “Ae Watan Mere Watan” could have reached greater heights. For a more captivating narrative about defiance under oppression, viewers might find the Netflix series “All the Light We Cannot See” more gripping, which is about a young blind girl illegally running a radio channel under Nazi-occupied France.

Rating: 5.5 on 10. You can stream “Ae Watan Mere Watan” on Prime Video.

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Masters of the Air Series Review – Soars Strong

Rating: 4 out of 5.

Sneha Jaiswal (Twitter | Instagram)

“I wasn’t planing on getting shot down. You know, I really did believe that if there were only two B-17s left, it would be you and me flying them.”

War requires a soldier to possess a dogged optimism, convincing themselves they will emerge as the last one standing against their adversaries. Created by John Orloff and executive produced by Tom Hanks, Steven Spielberg, and Gary Goetzman, the 2024 series “Masters of the Air” follows the 100th Bomb Group’s aerial campaign against the Nazis. The nine-episode series excels in its meticulous world-building and compelling storytelling, drawing viewers into the harrowing realities faced by American Air Force officers stationed in England during the conflict.

Episode one opens with a vibrant party, where viewers meet two of the several protagonists who take turns carrying this war tale forward. Close buddies Major Gale Cleven (Austin Butler) and Major John Egan (Callum Turner), nicknamed Buck and Bucky respectively, are looking forward to facing the Krauts in combat, neither prepared for the grim realities of aerial dogfights. The opening scenes of cheery music, dance, and soldiers reveling serve as a stark contrast to the dark blue skies that blacken with smoke when the 100th Bomb Group takes to the air to fight the Luftwaffe.

Click here for links to episode by episode review of “Masters of the Air”

From the very first edition, “Masters of the Air” series sets a somber tone, dispelling any notions of glorifying war with its sobering depiction of the perilous missions undertaken by the 100th Bomb Group. The protagonists face the terrifying prospect of flying bombers into the heart of Nazi Germany, where each mission carries the weight of potential loss and sacrifice. The camaraderie among the officers, portrayed with authenticity and depth, adds layers of emotional resonance to the narrative, showcasing the bonds forged amidst the crucible of war.

Anthony Boyle portrays one of the most memorable characters, Lt. Harry Crosby, a navigator who amusingly gets air-sick every time he is sent on a mission, yet he successfully manages to direct his flying fortresses to their targets each time. Boyle serves as the narrator for the series, giving “Masters of the Air” a first-person touch, even though there are several subplots and the focus keeps changing from one pilot to another. Some viewers might not like this aspect of the show, but it’s precisely this ‘pass the parcel’ narrative style that adds grit to “Masters of the Air” for me, as it emphasizes how teamwork is essential for victory.

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Throughout the series, “Masters of the Air” masterfully alternates between intense aerial combat sequences and quieter, introspective moments, exploring the psychological toll of warfare on its characters. From the boisterous bravado of young recruits eager to prove themselves to the sobering realization of the brutality and senselessness of war, each episode delves deeper into the complexities of the human condition amidst the tumult of battle.

As the series progresses, viewers are confronted with the harsh realities of war, from the horrors of Nazi concentration camps to the exhilarating triumphs of Allied victory. Episode nine, the season finale, delivers a poignant culmination of the narrative, juxtaposing scenes of celebration with sobering reminders of the human cost of conflict. Through the lens of hero pilot Rosie (Nate Mann), audiences bear witness to the atrocities of the Holocaust, serving as a stark reminder of the stakes at hand and the imperative of defeating tyranny.

“Masters of the Air” is elevated by its exceptional production values, from its stunning cinematography to its meticulously recreated historical settings. The series immerses viewers in the visceral thrills of aerial combat while never losing sight of the profound human drama unfolding amidst the chaos of war.

You can stream “Masters of the Air” on Apple TV+.

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Dune Part One – Stunning, Snooze-y

Sneha Jaiswal (Twitter | Instagram)

When “Dune: Part One” came out in 2021, I was visiting relatives in a small town that doesn’t even have a movie theater. Anyway, after I wasn’t able to watch “Dune” on its release week, I lost interest in the title, until it finally came on Netflix. We picked it for family night on a weekend and one of us tapped out within 15 minutes to go sleep. To say it takes a while for “Dune: Part One” to get interesting, is an understatement. Although visually, the world-building for the intergalactic tale is definitely a sight worth seeing.

In terms of the plot, I wasn’t prepared for the abundance of superstition and spiritual elements in this opulent sci-fi saga, which spans the destinies of numerous planets governed by technologically advanced humans accustomed to interstellar travel via starships. However, the use of swords in military combat was unexpectedly amusing, especially considering there are scenes where characters wield lethal gun-like weapons. Despite the presence of drones, fighter jets, and bombs, the reliance on swords remains unexplained by the creators. A cursory glance at the Wikipedia page for the “Dune” novels reveals that the fictional universe prohibits the use of computers and artificial intelligence. Which still doesn’t explain the swords. LOL. In the film, Timothy Chalamet plays protagonist Paul Atreides, who is some kind of space Jesus, as he is looked upon as a messianic figure by many in the story. Okay, before I digress too much, let’s just first summarize the plot.

Here’s the basic gist of “Dune: Part One”: In a distant future under the rule of an inter-galactic emperor, the story centers on Paul Atreides, son of Duke Leto Atreides, ruler of Caladan. The emperor orders House Atreides to govern Arrakis, a harsh desert planet rich in “spice,” a highly valuable substance. This decision angers the House of Harkonnen, the former rulers of Arrakis who profited greatly from its spice trade. Seeing the emperor’s directive as a ploy to weaken House Atreides, Duke Leto agrees, knowing it will lead to conflict with the Harkonnens. He confides in his son, Paul, sharing his plans to ally with the fierce native warriors of Arrakis, the Fremen. However, winning the trust of the Fremen proves to be a daunting task. In a big twist, Paul Atreides is believed to be the “Kwisatz Haderach” by the natives of Arrakis, who believe he is destined for great change.

So, once you get the hang of the main plot, “Dune: Part One” is pretty easy to follow, but the pace is painfully slow. There’s been so much hype about Timothy being paired with Zendaya in the film, but Zendaya is largely a ghost in the first part, she mostly appears only in Paul’s visions. Rebecca Ferguson plays Paul’s mother Lady Jessica Atreides, who is far more compelling in her role. Jessica is from a cult-like group called Bene Gesserit, a mysterious-exclusive sisterhood with advanced mental and physical abilities, including the ability to control their bodies and access ancestral memories. So Jessica trains Paul’s in the ways of the Bene Gesserit, and one of Paul’s special powers include being able to get accurate glimpses into the future.

“My father came not for spice, not for riches, but for the strength of your people. My path lies in the desert. I can see it. If you’ll accept us, we will come,” Paul tells Stilgar (Javier Bardem), a Fremen. One of the greatest marvels of Arrakis is the sandworms, colossal creatures capable of swallowing vehicles and entire structures. These creatures are drawn to rhythmic vibrations in the sands, often caused by machinery used in spice production, and the inhabitants of Arrakis must tread cautiously to avoid being consumed by these sandworms.

“Dune: Part One” takes so much time to just set the ground for the main plot, that despite its generous 2 hour 35 minute runtime, the characters don’t really leave a strong impression on viewers who haven’t read the original books by Frank Herbert, Brian Herbert, and Kevin J. Anderson. It’s a slow-burn fantasy, mixed with supernatural, religious elements, with lots of elements in the desert planet of Arrakis resembling the middle-east. If you take away the technological elements of the story, “Dune” would essentially look like some grand historic tale from the medieval ages, or something out of Arabian Nights.

There’s no doubt that the visuals of “Dune” is very impressive, the special effects are great, but the plot, pace and execution was underwhelming. Hopefully, part two will be more fun and entertaining, now that the first film has done a solid (slow) groundwork of explaining the Dune universe.

You can stream part one in Netflix.

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“The New Look” Episode 8 Review

“I’ve just learned that Carmel Snow is on her way to Paris. Are you listening?”

After ensuring Christian Dior (Ben Mendelsohn) gets the atelier of his dreams in Paris, Madame Zehnacker (Zabou Breitman) works on convincing him the importance of wooing Carmel Snow, the editor-in-chief of Harper’s Bazaar. Glenn Close portrays Snow, who was known to be a highly influential figure in the fashion industry at the time. But before she gets to Paris, Snow meets Coco Chanel (Juliette Binoche) in Switzerland.

Titled “I Love You Most of All”, episode eight of “The New Look” was a rather slow edition, although Carmel Snow’s presence does add some novelty to the story. Dior is busy building his new atelier, but refuses to poach models from other designers, so apart from creating his “statement piece” for his next collection, he is also on the hunt for a fresh face to wear his clothes. Meanwhile, his sister Catherine (Maisie Williams) goes to live with her father in the countryside, where she begins to tend to his garden, while also working on coming to terms with her horrific experience at the Nazi prison camp.

In an intriguing twist, an old ‘friend’ of Coco Chanel unexpectedly appears in Switzerland, causing a stir and reviving her apprehensions about the repercussions of permanently returning to Paris. The persistent rumors of Chanel’s alleged collaboration with the Nazis cast a shadow over her aspirations to resume running her beloved atelier in the city. Chanel hopes on securing a cover story with Harper’s Bazaar, a coveted opportunity also sought after by numerous prominent designers, each vying to emerge as a symbol of French fashion’s revival in the post-war era.

The depiction of Dior and his contemporaries as supportive visionaries offers a compelling perspective on the fashion industry. Madame Zehnacker’s advice to Dior, “You must make some enemies,” highlights the common wisdom that success often comes with stirring up controversy. However, Dior’s deliberate efforts to avoid upsetting his fellow designers underscore his commitment to maintaining positive relationships within the industry. But how long can he keep up peace with his competitors? With only two episodes left, I am beginning to wonder how “The New Look” will wrap up this slow-burn tale of different individuals trying to rise from the ashes of World War II.

You can watch “The New Look” on Apple TV+

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‘Young Royals’ Season 3 Review – Emotional Curtain Call

Rating: 4 out of 5.

Sneha Jaiswal (Twitter | Instagram)

“Maybe some people never get things right. But that doesn’t mean you don’t need them.”

Sweden’s crown prince Wilhelm (Edvin Ryding) and Simon (Omar Rudberg) are an official couple, so they don’t have to sneak around anymore, but their romance in now under magnified public scrutiny, so the young couple face newer challenges in “Young Royals” season three. If you’d remember, season two ended with Wilhelm coming out with an emotional speech at school. His address sends ripples across the royal court, Sweden and also impacts the school. The very fate of Hillerska, the posh boarding school where the story is set, hangs in the balance after Wilhem’s speech inspires students to speak up about problematic “initiation ceremonies” on campus.

Episode one begins with a tense scene of legal negotiations over the leaked video of Wilhelm and Simon, after it’s established that it was August who was behind the entire fiasco. Simon comes to the palace for the first time, and the sequence subtly establishes the class difference between the two teens for the viewers. But the teen lovers are oblivious to this invisible divide, basking in what they believe to be their newfound freedom to express their love for each other on campus.

Tightly paced, episode one sets a fantastic pace for the rest of the season, swiftly exploring what is going on with each of the principal protagonists. Simon’s sister Sara (Frida Argento) has stopped going to school, August (Malte Gårdinger) is faced with acute guilt and remorse over his fallout with Wilhelm, meanwhile Felice (Nikita Uggla) struggles at school after losing best-friend Sara. So the rest of the season explores how each of them come to terms with their problems and conflicts.

Edvin Ryding and Omar Rudberg’s chemistry continues to be impeccable – it’s all about first-love butterflies and desire; Edvin Ryding retains a vulnerable boyish charm as the crown prince Wilhelm, which makes his character easy to root for. Edvin effortlessly portrays all the complex emotions of the young royal who has little say in his own future, and must struggle to snatch some moments of peace and privacy with those he loves.

With their relationship under the limelight, this season of “Young Royals” explores the drastic effects of constant media glare and cyber-bullying on the youngsters. The creators subtly display the toll it takes on Simon, who unlike Wilhelm, isn’t used to the paparazzi or the constant criticism of strangers on social media over his life. For example, Simon’s body-language undergoes a drastic change when he sings in some scenes of this season – he isn’t as confident, glowing or happy while singing, because his self-esteem takes a hit.

Apart from the highs and lows of Wilhelm and Simon’s relationship, I love how the creators put significant focus on demonstrating how friendships are just as important as serious romantic entanglements. “Sometimes, a break-up with your best friend can be worse than breaking up with your partner,” a character says in the series. While August is significantly shaken over his break-up with Sara, Felice is far more devastated over her friendship ending with Sara, and vice versa. Frida Argento’s Sara does a lot of growing up in this season of “Young Royals”, even though her first attempt is to run away from her problems, first by skipping school and then by going away to her father’s place because Simon won’t look her in the eye. So Sara’s fraught relationship with her estranged father is also explored, as the two take a slow path at getting to know each other again.

The cinematography and music of “Young Royals” are a strikingly good cocktail of audio-visual elements, with an energetic soundtrack that consistently maintains the youthful tone of the story. Even though most of the plot in season three takes place indoors, within the palace grounds, at Hillerska’s dorm rooms or classrooms, or at Simon and Sara’s house, the show maintains a vibrant palette and composition that will keep you glued to the screen. And then there are obviously some of the legendary Hillerska parties and events that take place in the story, which give creators ample scope to treat viewers to lavish celebratory scenes.

Episode six, the final chapter of “Young Royals” opens with the chirping of birds, Wilhelm is laying on the lap of his friend Felice, heartbroken, softly sobbing as he talks about taking onus for his problems. The scene is set against a beautiful sunny morning, the friends sitting by a lake, and the scene layout proving creators don’t have to set an emotional scene against a gloomy palette to evoke viewer sympathy. It also speaks volumes of Edvin Ryding’s craft, the actor has steadily evolved with his character.

After leading viewers through an emotional roller-coaster, the finale ends on a surprisingly optimistic note, one that borders on being “too good to be true,” yet it’s a fitting way to bid adieu to our favorite characters. Another heady Hillerska term comes to an end, and a graduation party marks new beginnings for almost everybody from the world of “Young Royals.” It’s been yet another successful season, and I expect this Netflix show to be on “Best YA Romance Series To Watch” lists for years to come.

Stream “Young Royals” on Netflix.

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Kung Fu Panda 4 Review

Directors: Mike Mitchell, Stephanie Stine

Writers: Jonathan Aibel, Glenn Berger, Darren Lemke

Jack Black is back as the chubby, sleepy-eyed, dumpling-loving Po in “Kung Fu Panda 4”, where it’s time for him to retire as the Spiritual leader of the Valley of Peace and pick someone to replace him as the Dragon Warrior. But Po isn’t ready to hang up his boots yet, and a menacing new shape-shifting villain called The Chameleon (Viola Davis) entices him to go on one last action-adventure as the Dragon Warrior.

Within the first twenty minutes of “Kung Fu Panda 4” I started questioning myself – has my inner child died? Because nothing made me crack even a bit, but the quietness in the hall around me reassured me that it wasn’t the case. Nobody else was laughing, chortling or even sniggering. So the film struggles to capture the viewers attention in the first-half, but eventually finds its groove, packing in quite a few funny and memorable moments.

The voice acting by most of the cast was on point. Awkwafina was immediately recognizable with her signature husky-energetic voice as Zhen, a new friend Po makes – a thieving fox who helps him find The Chameleon. The character illustration for this new villain is colorful, engaging, and seems a little inspired by “Rango”, the theatrical chameleon played by Johnny Depp in the 2011 animated film of the same name. Viola Davis’ Chameloen is a crafty sorceress, who summons all of Po’s old foes from the spirit realm, in order to defeat him and rule the world.

While the cinematography and animation is very engaging, the storytelling is far too predictable, so much so that I hypothesized what would happen after the interval, including two major plot-twists, to which my partner was like “c’mon, that sounds like a Bollywood film by Subhash Ghai.” And I could’ve been wrong, but nope, the writers did go down the beaten path. But a few hilarious jokes, and Po’s cute personality keeps viewers engaged until the end.

Overall, “Kung Fu Panda 4” is nowhere as delightful as the first two films, but it’s likely to prove fun enough for loyal fans of the franchise.

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Big Girls Don’t Cry – Cast Makes It Worth A Watch

Sneha Jaiswal (Twitter | Instagram)

Directors: Nitya Mehra, Karan Kapadia, Sudhanshu Saria, Kopal Naithani

Writers: Adwitiya Kereng Das, Sunayana Kumari, Radhika Malhotra, Nitya Mehra, Sudhanshu Saria

“You can hold my hand if you want to
‘Cause I want to hold yours too
We’ll be playmates and lovers
And share our secret worlds“

These are lyrics from Fergie’s 2006 song “Big Girls Don’t Cry”, a track I kept thinking of while watching the 2024 Bollywood boarding-school themed series of the same name. Spanning seven episodes, the show follows a group of teen girls navigating the challenges of living in a strict all-girls boarding school called Vandana Valley. In this seven-episode show, the girls encounter a plethora of issues, including academic rivalries, basketball court conflicts, love triangles, identity politics, parental concerns, and archaic rules.

Episode one of “Big Girls Don’t Cry” is slow, and the opening scenes just don’t draw you into this fictional world of teenagers. Half a dozen different protagonists are introduced under varied circumstance, none of which are entertaining enough. However, as the series progresses, the young cast grows on you, courtesy their sassy and spirited performances. They navigate a derivative script that feels like a mashup of different American and British teen shows and movies. For example, one of the major subplots is about a girl called Pluggy (portrayed by Dalai), whose mission is to lose her virginity to anybody who’d have her, which is a staple teen comedy trope in Western movies. The 2023 comedy hilariously mocked this trope it trope about two lesbians forming a fight-club for girls so they can have sex before they finish high-school.

The next few episodes largely focus on a group of friends who consider themselves the ‘cool gang’ with a simple motto – “Big Girls Don’t Cry” (BGDC). Vidushi plays Kavya Yadav, the new student who makes her way into the BGDC group on Pluggy’s (one who wants to lose her virginity) recommendation, after Kavya helps them win a challenge, which gives the group access to a shed to serve as a hangout spot. Unlike the other wealthy girls of her group, Kavya is a scholarship student; however, this class divide isn’t really delved into deeply. Although hanging out with the fun ones makes her grades suffer. Avantika plays basketball champion Leah Joseph, who aspires to be sports captain, while her BFF Noor (Afrah Sayed) is aiming to be the school captain. These two girls are razor sharp about their goals, but while Avantika struggles with her feelings for a fellow player, Noor wrestles with her identity due to her famous activist parents, wanting to get rid off her family name. The group is completed by Roohi Ahuja (Aneet Padda) and her shy royal childhood best-friend Jayashree Chetri (Lhakyila). Roohi and Jayashree find themselves in an accidental love triangle when Roohi starts to write love letters on behalf of the latter for a cute boy studying in a neighboring all-boys school.

Interestingly, a character who isn’t part of the core friend group, has one of the most entertaining sub-plot – Monjoree Kar zealously plays her own name-sake in the series, a debate club member, who develops a hilarious rivalry with Wook Oak student Vivek (Rishab Joshi). Their story-line was simple, they looked like relatable Indian kids, although eventually, Monjoree also steps up for another character in the tale, giving her sub-plot more heft. Another major student character who isn’t part of the BGDC group is Dia Malik (Akshita Sood), a privileged rebel without a cause, who writes poetry and had no friends. While Akshita Sood probably does her best with the part, her character arc felt annoying, unnecessary.

Among the adults in the cast, Pooja Bhatt shines as Anita Verma, Vandana Valley’s sharp, no-nonsense Principal, who almost always knows how to put her students in their rightful place. All the other adults in the world of “Big Girls Don’t Cry” don’t make much of a difference to the story, so some of their parts could’ve been trimmed.

The world-building for an all-girls boarding school is well executed in “Big Girls Don’t Cry”, and although some aspects may seem exaggerated, they are nowhere near as unrealistic as the grand sets often seen in Karan Johar high-school dramas. The cinematography sometimes made the series seem like a serious thriller, something akin to “School of Lies”, even though it’s not. And that’s one of the major flaws of the show: the writers fail to commit to a definitive tone for their story. It lacks the seriousness needed for drama, yet it also lacks the breezy comedic atmosphere for lighter entertainment.

Overall, “Big Girls Don’t Cry” can prove to be quite engaging for those looking for a series focused on high-school friendships. The young cast impresses, forming an endearing band of friends, which elevates an otherwise mediocre script. Without their compelling performances, the series might have struggled to hold viewers beyond the first two episodes, but they make it worth a watch.

Rating: 6 on 10. You can stream the series on Prime Video.

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We Can Fix It – Graphic Novel Review

Rating: 3 out of 5.

Jess Fink travels back in time to save her younger selves from doing things that would either lead to embarrassment, discomfort or trauma in the adult graphic novel memoir “We Can Fix It”. So, one of the first few things Jess does is stop her younger self from making out with a “jerk” and instead makes out with herself to satisfy her hormonal rage. Yeah, that’s kind of weird, but also funny, and if you take a moment, it makes complete sense – self-service over bad-service.

Just a little over 100 pages, “We Can Fix It” is a quick, quirky read, where creator-artist Jess Fink uses to time-machine to revisit both awful and fun events of her life, doling out constant advice to her younger selves. But will younger Jess really listen to her future self or continue to do whatever she feels like?

Jess Fink’s artwork is simple, expressive and engaging to follow, and while a colored comic would’ve been more visually appealing for this time-travel memoir, the black-and-white panels have their own retro charm. From early 2000s, to 1990s, Jess keeps traveling to different points in her life, giving viewers quick humorous glimpses to her life, varying from “sexy” moments to not so sexy ones.

While much of “We Can Fix It” comprises random incidents strung together, it does contain some humorous moments, and its limited length makes it a very easy read. On the flip side, for a graphic novel memoir, it may feel rushed or shallow to some readers. However, the creator is self-aware that her life doesn’t seem all that bad. “It obviously doesn’t look like I ruined our life or anything. So why can’t you just let me make my own mistakes?” – her college version reprimands her future self at one point in the novel. Jess Fink wraps up the memoir with a familiar life lesson, something we often lose sight of—that perhaps we tend to focus too much on the negatives to appreciate the better things in our lives.

Rating: 3 on 5. “We Can Fix” is also on Kindle Unlimited.

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