Sneha Jaiswal's Blog, page 34
May 27, 2025
Harry Potter Cast For New HBO Series Unveiled, Meet The Magic 3!
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The generation that grew up reading Harry Potter as it came out, waking up early and lining up outside bookstores on release day, is now well into their 30s or even 40s. Yet, the boy wizard’s influence hasn’t waned. More than a decade since the final live-action film, Harry Potter and the Deathly Hallows – Part 2, released on July 15, 2011, the magical universe continues to cast its spell on new readers across the globe. With HBO and Max officially greenlighting a reboot series, fans old and new are inching closer to experiencing the Wizarding World all over again.
After months of speculation and anticipation, the studio finally introduced the new Harry Potter cast, three fresh faces who will take on the legendary trio: Dominic McLaughlin as the titular Harry Potter, Arabella Stanton as the clever and courageous Hermione Granger, and Alastair Stout as the ever-loyal Ron Weasley. In a charming reveal post across social media, HBO Max addressed them in the classic Hogwarts acceptance letter format: “Dear Mr. Potter, Miss Granger, and Mr. Weasley: We are pleased to inform you that you have a place at Hogwarts School of Witchcraft and Wizardry.”
This announcement has stirred excitement as well as curiosity. Recasting characters so deeply embedded in pop culture is no small feat. For many, Daniel Radcliffe, Emma Watson, and Rupert Grint are Harry, Hermione, and Ron. However, HBO’s new adaptation of the Harry Potter series promises a more book-accurate retelling, spread over multiple seasons, giving more room to flesh out subplots and character arcs that the movies had to condense or skip altogether.
The decision to reboot the franchise as a series rather than a movie was met with mixed reactions when first revealed. On one hand, it gives a new generation of storytellers and performers a chance to step into this beloved world. On the other, it risks direct comparisons with the massively successful Warner Bros. film series that grossed over $7 billion worldwide. Nevertheless, the announcement of the young leads has reignited the enthusiasm of Potterheads everywhere, signaling that the magic is ready to be reborn. The franchise previously expanded with the stage play Harry Potter and the Cursed Child, set years after the original series, though reactions to it have remained mixed among fans.
Joining the trio are a slate of seasoned actors taking on some of the most pivotal adult roles. Legendary actor John Lithgow has been cast as the enigmatic and wise Albus Dumbledore, bringing with him a gravitas and warmth that fans hope will do justice to the role once portrayed by both Richard Harris and Michael Gambon. Janet McTeer, known for her powerful performances in Ozark and Albert Nobbs, steps into the sharp-witted shoes of Professor Minerva McGonagall. Meanwhile, comedic favorite Nick Frost will take on the beloved half-giant Hagrid, a role originally played by the late Robbie Coltrane.
While the casting choices have generated buzz, they’ve also sparked passionate debates. The legacy of Harry Potter is layered, filled with nostalgia, but also entangled in controversies surrounding the franchise’s creator. Some fans remain conflicted, eager to revisit Hogwarts, yet wary of supporting new projects tied to J.K. Rowling. HBO has so far remained firm in its decision to involve her as an executive producer, given her ownership of the source material, but has stated that the focus will be on the books and the characters that captured the hearts of millions.
The upcoming series is expected to launch sometime in 2026, with each season dedicated to a specific book in the seven-part saga. This serialized approach opens up vast storytelling possibilities. For example, early seasons may finally give justice to characters like Peeves the Poltergeist, Ludo Bagman, or Winky the house-elf, all of whom were omitted from the films due to time constraints. It also means a deeper dive into the complexities of the wizarding world, from the socio-political structure of the Ministry of Magic to the nuanced friendships and rivalries that shaped Harry’s journey.
Behind the scenes, the production is being helmed by a team of industry veterans and rising talents, with HBO reportedly investing heavily in visual effects, set design, and creature development. The idea is to make the series feel grand and immersive, yet distinct from the movies. Rather than attempt to replicate the original, HBO aims to reimagine the saga for a new generation, in line with contemporary storytelling sensibilities.
As the franchise prepares for this next chapter, one thing is clear: the world is watching. Whether the new Harry, Hermione, and Ron will soar on broomsticks into fan hearts or stumble under the weight of expectations remains to be seen. But for now, excitement brews like a cauldron in a Hogwarts dungeon.
Read Next: Sirens Netflix Series Review (Short Audio Version below)
Overcompensating Review: ‘Love, Victor’ Meets ‘American Pie’, Sort of
Sneha Jaiswal (Twitter | Instagram)
Well, long review short, the 2025 Prime Video series “Overcompensating” is a mash of “American Pie” and “Love, Victor”, so it flits being an over-the-top comedy, while swinging to delivering some heartfelt emotions here and there. A cute guy, who is still in the closet, tries to date a girl so that people won’t find out the truth about him? That’s “Love, Victor” season one right there, but instead of being a high-school drama, “Overcompensating” is set in a fictional University called “Yates”, following college freshman Benny (Benito Skinner), as he tries to hook up with Carmen (Wally Baram) on the first night, even though he’d rather be in bed with the dreamy Miles (Rish Shah).
Spread over eight episodes, the first episode of “Overcompensating” kicks off with Benny’s parents (Kyle MacLachlan and Connie Britton) dropping him off at college, emotional about letting their golden boy go. Benny’s older sister, Grace (Mary Beth Barone), isn’t thrilled to see her younger brother coming to study at the same college, but her boyfriend Peter (Adam DiMarco), a popular campus senior, welcomes Benny warmly and gives him a mission: get laid on the first day if he wants to avoid social death.
“Overcompensating” flips the classic ‘friends to lovers’ trope, following Benny and Carmen’s journey from pretend lovers to actual friends. The two try to hook up on their first day of college, purely due to peer pressure, though Carmen assumes Benny might genuinely be into her. They continue to hang out, and people around them simply assume they’re a couple. Neither of them corrects it, since being seen as a ‘thing’ makes them seem ‘cool’. Meanwhile, they try to climb the college social ladder by attempting to join an elite, exclusive campus secret society typically reserved for rich kids with connections.
Benny is the one who does most of the overcompensating in the series, desperately trying to conform to heteronormative actions, which usually results in comically awkward moments. For instance, at a dorm party, while all the male students rap ‘dude songs’, Benny hilariously raps to Nicki Minaj’s “Super Bass,” while the others look on, confused. Carmen mostly just gets swept up in Benny’s world of wild college parties and secret society shenanigans.
Benito Skinner and Wally Baram make an oddly cute lead duo, despite being ‘only friends’ for most of the series. While Benny’s struggle with his sexuality is far more engaging, Wally’s Carmen gets a rather clichéd character arc, indulging in familiar teen drama behavior that ends up hurting her friends. So there’s a bit where she tries to join and blend in with the ‘Mean Girls’ clique on her campus, going as far as eating things she is allergic too, just to please them. Ugh. Where’s your self-preservation instinct, girl?
Among the supporting cast, actor Holmes is the most entertaining as Carmen’s boisterous roommate Hailee, almost always overdressed and up to something weird. Holmes has great comedic presence and timing, and reminded me of a young Jennifer Coolidge. Rish Shah feels underutilized as Benny’s campus crush, Miles. Although the two share great chemistry, there’s not much substance to their subplot, since Miles is too scared to act on his feelings. ‘Overcompensating’ is largely about Benny figuring out what he really wants, including his academic path. He starts off as a business major only because his dad wants him to but begins gravitating toward film studies (mostly because Miles takes the class).
Mary Beth Barone, as his older sister Grace, starts off as a cold meanie, but the second half of the show gives her more depth. Honestly, it didn’t seem like Grace and her boyfriend Peter would be pivotal to the plot, but they are. Adam DiMarco’s portrayal of Peter lacks punch, his character is a confusing mess: on one hand, he is shown to be an arrogant ‘bad boy’ who treats his girlfriend like dirt, on the other, he has his own existential crisis due to insecurities over his prospects and dipping popularity.
The most surprising element of ‘Overcompensating’ is a fun cameo by Charli XCX, who appears as herself performing at a college concert in Yates. Fans of the singer get to see her belt out her hit songs on the show. Even otherwise, the series features a lively soundtrack packed with popular numbers.
Overall, the show may feel slightly dated at times, but it delivers plenty of comedic moments and makes for a solid pick if you’re looking for a not-too-serious coming-of-age campus comedy, with a few raunchy bits thrown in. The climactic episode was a mess, ending with a twist that doesn’t flow smoothly and feels jammed in for dramatic effect. While underwhelming, the cliffhanger in episode eight of ‘Overcompensating‘ leaves plenty of scope for a season 2.
Rating: 3 on 5 stars. Overcompensating is on Prime Video.
Read Next: Sirens Netflix Series Review (Short Audio Version below)
May 26, 2025
‘Cold Case: The Tylenol Murders’ Documentary Review
Sneha Jaiswal (Twitter | Instagram)
Would you let a suspect investigate a case?
An interviewee asks this rhetorical question in the Netflix documentary series ‘Cold Case: The Tylenol Murders,’ which revisits seven deaths that took place in 1980s Chicago due to the consumption of cyanide-laced Tylenol pills, over-the-counter pills for pain relief. Did someone at the manufacturing factory tamper with the pills, or was it the handiwork of a malicious murderer mixing cyanide into the pills at drugstores when nobody was looking? Most investigators working on the case seemed to think the latter.
Episode one of ‘The Tylenol Murders‘ kicks off with archival news footage of anchors reporting the shocking case of seven people dying in the Chicago metropolitan area due to the poisoned pills in 1982. It succinctly and rather dramatically introduces the case for international viewers, beginning by focusing on the first death linked to the tampered Tylenol pills. Emergency responders, investigators (including police and FBI), journalists, and family members of the victims recall the case as it unfolded back then. The episode closes with a surprise ‘smoking gun’ interview, one that practically guarantees viewers will click ‘next episode’ without hesitation.
Unfortunately, as the title suggests, ‘The Tylenol Murders‘ remain unsolved, and the documentary chronologically unravels the mystery and case timeline. The murders not only made national headlines, but also led to a nationwide panic and the recall of millions of Tylenol pills. A primary suspect was soon arrested, but the evidence against him remained inconclusive. And since there isn’t concrete proof to nail the ‘real’ culprit, the second half of the documentary isn’t as gripping, but it continues to reveal crucial aspects of the case.
Except for old TV interviews, the creators do not have anybody from Johnson & Johnson on record to present the corporate side of the story, not even an ex-employee (assuming some watertight NDAs were signed) from the 1980s. The corporate silence isn’t surprising and is the only real missing piece in this series, but otherwise, it features lots of different people connected to the case, in both big and small ways, to present all possible sides of the case. It’s up to the viewer to draw their own conclusions.
For those unfamiliar with the case, the most striking revelation in the documentary is that the Tylenol murders led to a major overhaul in medical packaging. In the 1980s, pill bottles lacked the tamper-proof seals we take for granted today. But after the nationwide panic caused by this case, one that shook public trust in a household brand, Tylenol was recalled and re-packaged with triple-seal protection. The tragedy ultimately prompted lasting changes in consumer safety and packaging standards to prevent medication tampering.
Overall, ‘Cold Case: The Tylenol Murders’ is an interesting documentary for true-crime enthusiasts who don’t know much about the case.
You can watch it on Netflix.
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Also Read Next: Sirens Netflix Series Review (Short Audio Version below)
Reading Mary Shelley’s Frankenstein in 2025
Sneha Jaiswal (Twitter | Instagram)
“Contextually it’s very impressive, but otherwise all right.”
This was a text I sent to my friend who had gifted me a lovely hardback copy of “Frankenstein” by Mary Shelley.
“Contextually as in an 18/19 year old writing this in 1818.”
“Lol I guess it’s fine. Just getting a book out in 1818 for a woman was enough of a deal,” my friend responded.
And that of course remains something awe-worthy about ‘Frankenstein’, that the young Mary Shelley, under the guidance of her famous poet husband, was able to publish a fiction book in the early 19th century, when women writers were as rare as women monarchs.
The lore and trivia around ‘Frankenstein’ might be a lot stronger than the actual content of the story itself. Many literature enthusiasts or simply pop-culture nerds might know that Frankenstein was written by a young Mary Shelley as part of a friendly ghost story competition with her husband, the famous poet Percy Bysshe Shelley, and two other friends (John Polidori, and Lord Byron). She was only 18 at the time and went on to develop what was supposed to be a short story into a full-fledged novella that was first published in 1818. By then, Mary was 20.
The plot follows Victor Frankenstein, a rich kid from Geneva, who goes to study modern sciences at the University of Ingolstadt. He then embarks on a secretive project to create a living human being using parts sourced from human corpses. Obsessed with playing God, Frankenstein works feverishly for weeks to complete his project, only to realize the grotesque, disproportionate ugliness of his creation when it comes to life. Frankenstein recoils from the creature in horror, falling sick, while the poor creature, not capable of speech yet, flees Frankenstein’s room to an unknown fate, while his creator remains delirious and ill for a prolonged period.
It’s only in the latter half of the novel that we learn of the creature’s struggles in adapting to a hostile human world and his attempts at seeking revenge/justice (depending on how you see it) from Frankenstein for shunning him and leaving him at the mercy of a cruel world. In fact, Frankenstein himself refers to the creature as a ‘daemon’. I will be referring to him as the ‘Daemon’ in the rest of this write-up as well.
“I collected bones from charnel-houses; and disturbed, with profane fingers, the tremendous secrets of the human frame.” – Victor Frankenstein.
Yeah, first off, Victor is a mad drama queen, he tries to create something human-like, but makes it unnaturally huge, so if it weren’t for the creature’s evidently superior physical strength, Victor would’ve tossed him out of the window, while screaming bloody Mary. Instead he faints, and then pretends like everything was probably a nightmare and doesn’t even attempt to locate his ‘daemon’. Dude’s an extremely irresponsible mad-scientist living in his own la la land. It’s only through an incredible co-incidence that he crosses paths with Daemon again, okay well, not incredible, because after spending days in the real world, Daemon learns the human language, realizes all humans are assholes to ugly-looking things like him, and decides to seek out his creator or daddy if you like.
Interestingly, ‘Frankenstein’ begins with a letter written by an Arctic explorer called Robert Walton to his sister, describing how he saved a man called Victor Frankenstein from drowning in the icy sea. Walton then goes on to narrate Victor’s story through a really really long letter, which includes all the morbid details of making a ghastly demonic being. Walton’s fascination with Victor borders on being romantic to a modern reader’s eye. Sample this sentence from the novel where Walton is describing Victor: “Sometimes I have endeavoured to discover what quality it is which he possesses that elevates him so immeasurably above any other person I ever knew….. add to this a facility of expression and a voice whose varied intonations are soul-subduing music.“
If you’re not convinced, he also says this about Victor: “His full-toned voice swells in my ears; his lustrous eyes dwell on me with all their melancholy sweetness….”
Now, of course Mary Shelley was certainly not trying to write what might sound like unrequited romantic sub-plot to some, Walton often calls Victor his ‘brother’. It’s just that Mary Shelley wrote male friendship through the lens of the female gaze, imagining male bonds to be as delicately emotional and tender as their female counterparts. You’ll rarely encounter such romanticism between men in say, the works of Charles Dickens, the famous 19th century writer or even in Jane Austen’s novels.
Anyway, Robert Walton’s role in the novel is merely that of a narrator, although his role as Victor Frankenstein’s savior is an important one. Victor tells Robert his story as a cautionary tale against too much ambition with too little foresight. Victor after all was only 17 when he went to University, which means he couldn’t possibly be older than 21 when he created Daemon. So, Mary’s tale is an interesting philosophical warning against youthful over-ambition and idealism. Perhaps, if Victor had more years of experience behind him, he wouldn’t have shrieked and run off from the Daemon like a 21-year-old jock ghosting his tinder date because she didn’t look like ‘his type’.
The Daemon himself is a fascinating character, missing in action in the first few chapters, but slowly, his calamitous journey to finding a ‘safe haven’ (without much success) is revealed. As a reader, I was rooting more of the Daemon and a lot less for Victor, which was most definitely not Mary’s intention as an author. If it weren’t for his unfortunate physical experience, courtesy bad artist Victor, Daemon is a beautiful soul, incredibly intelligent, maybe unbelievably so, since he manages to master the human language in less than a year, simply by observing a French family from afar and reading stolen books. The most striking theme is thus the Daemon’s quick understanding of the world, its laws, class divides, even if rudimentary. He is both repelled and impressed by human connections, but never finds someone to empathize with his own situation. He is the classic ‘outsider’, a man-made outcast, a physical symbol of prejudice, violence, and blind fears of ‘civilized beings’.
Eventually, the tale becomes a ‘who is more miserable’ competition between Daemon and Victor, each convinced they are more unlucky the other. No Victor, you whiny little pampered brat. Ultimately, it is Victor’s self-centered nature that brings about doom in his life, with those associated with him suffering terrible, undeserved endings. Victor is the kind of character who is constantly making everybody worry about him, while refusing to take any onus of his actions. He instead emotionally abuses himself, plays the victim card all the time, even though nobody around him even understands what’s troubling him.
If ‘Frankenstein’ were re-imagined for the modern reader, the best ending twist would be that Victor was in a psych ward the whole time, imagining he created something horrendous – himself. Alternatively, Mary Shelley’s ultimate lesson in the novel is that most times, humans create their own problems, then live with regret, instead of fixing their shit. Or like Taylor’s song “It’s me, hi, I’m the problem, it’s me”. That one can be dedicated to Victor Frankenstein.
For literary enthusiasts, ‘Frankenstein’ is worth a read for its historic value as a literary piece, Mary Shelley delivers a truly tragic climax that would’ve been haunting for 19th century readers. And even though it’s a dominantly philosophical piece, one can see the religious undercurrents in the tale – that if you try to play God, the price will be hell.
Rating: 3 on 5.
Read Next: 10 Great Historical Non-Fiction Books on Kindle Unlimited (audio version below)
May 25, 2025
‘Fear Street: Prom Queen’ Review: ‘Scream’ Meets ‘Mean Girls’
Sneha Jaiswal (Twitter | Instagram)
The year is 1988. Shadyside High is your average American high school, where all the teens are excited about their upcoming senior year prom. Among the top runners for Prom Queen are members of the popular clique called the ‘Wolfpack’, and protagonist Lori Granger is often bullied by them. So Lori signs up to be competition to the bullies and bring “some change.” Sounds a little like ‘Mean Girls‘? Well, the 2025 slasher Fear Street: Prom Queen is indeed like a mash-up of ‘Mean Girls‘ and ‘Scream‘, so amidst all the “who will be Prom Queen” drama, a serial killer is out brutally murdering the teens one by one.
“Everybody always said I’d end up this way, that my last name is cursed, and I’d be dead or a killer before graduation.”
Directed by Matt Palmer, Fear Street: Prom Queen starts off with an intriguing cold open, where someone is walking with a bloodied tiara in their hands, while a narrator talks about being “cursed.” India Fowler plays lead Lori Granger, an aspiring writer often tormented by ‘Wolfpack’ leader Tiffany Falconer (Fina Strazza). Luckily for Lori, her best friend Megan Rogers (Suzanna Son), a feisty emo prankster, always has her back. In a not-so-unpredictable twist, Lori has the hots for Tiffany’s boyfriend Tyler (David Iacono), also a Prom King candidate.
While Lori is busy doing extra shifts to buy a prom dress that will help her win the crown, a serial killer is on the prowl for the Prom Queen candidates. The gory murders begin pretty soon, and the violence is hilariously over the top, which will make viewers both flinch in horror and crack a laugh. Yes, ‘Fear Street: Prom Queen‘ is that kind of movie. It’s got all the usual high school drama tropes that are usually centered around proms, throwing in some ghastly “guts spilling on the floor” violence.
Fina Strazza, as Lori’s primary tormentor Tiffany, is charmingly deviant as the “bad girl” on campus and might remind some of a young Winona Ryder. Tiffany is the sort of popular girl who is worshiped by some peers and just cannot stand anybody even attempting to upstage her, much like Regina George from ‘Mean Girls’. India Fowler’s Lori is the bland “good girl”; her character, unfortunately, is so boring that many viewers might not care whether she survives or dies. In a few scenes where Lori does get to stand out, the actor doesn’t really add any extra zing to those moments. Ella Rubin, who plays Melissa, Tiffany’s BFF, makes a more memorable onscreen impression in ‘Fear Street: Prom Queen‘, despite maybe just five minutes of screen time. Interestingly, I couldn’t help thinking how much Ella Rubin looks like Anne Hathaway, only to realize she had played Hathaway’s daughter in the romantic comedy ‘The Idea of You‘.
The cinematography weaves in some scenes that are shown through an old-school, grainy camcorder lens, giving the movie a throwback vibe, sometimes making it seem like a “found-footage crime documentary.” The background track, too, of course, is from the ’70s and ’80s, featuring some cool hit tracks that will have nostalgia enthusiasts thrilled.
But the plot, of course, is very basic, and the climactic events, especially the “serial killer” reveal, were underwhelming. With its 90-minute runtime, this retro-slasher film is on the leaner side, so despite the familiar plot, it ends before it can become overbearing. If you keep your expectations low, ‘Fear Street: Prom Queen‘ is a decent one-time watch for fans of the genre. Although, the 2023 teen slasher ‘Totally Killer‘ is a lot more fun and shakes things up with time travel.
Rating: 5 on 10 stars. Watch it on Netflix.
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May 24, 2025
What To Expect From ‘Weak Hero Class 3’, If There’s One?
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The second season of Weak Hero wrapped up with a bang, literally and emotionally. The death of Baek-jin, the cold-blooded orchestrator behind the Union, might have ended one chapter of violent high-school politics, but the war is far from over. If the creators decide to continue the saga with ‘Weak Hero Class 3‘, there’s ample fuel left to ignite another storm of fists, fury, and perhaps, feelings.
A Bigger Boss & A Bloodier Game?
‘Weak Hero Season 2’ revealed that Baek-jin wasn’t the king, just a loyal soldier in a larger empire of violence. So if Class 3 becomes a reality, a natural escalation would be to pull back the curtain on the true mastermind, the adult crime syndicate leader who ran the Union from the shadows. With Baek-jin dead and the student hierarchy shattered, the top brass may seek revenge, not just to reclaim control, but to send a message.
That means more brutal enemies for Yeon Si-eun (Park Ji-hoon) and his friends, who ended season 2 forming an uneasy alliance against the bullies. The stakes would rise. The fights? Bloodier. The consequences? Deadlier.
Also Read: Weak Hero Class 1 Review: Brutal Beatdowns for Action Fans
Romance in a World of Violence?
In a surprise twist off-screen, both series creator Han Jun-hee and actor Park Ji-hoon hinted in interviews that Su-ho (played by Choi Hyun-wook) might be Yeon Si-eun’s “first love”. That revelation adds an unexpected layer to the narrative. While the franchise thrives on raw, gritty action, there’s room to explore the emotional undercurrents between the leads.
If Weak Hero Class 3 dares to balance action with a nuanced portrayal of male friendship, love, or unspoken tension, it could evolve beyond a typical revenge drama. Still, too much romance might risk alienating fans who come for the punches, not pining.
The Su-ho Revenge Arc?
Let’s not forget the pivotal cliffhanger: Su-ho waking from his coma. What if season 3 revolves around his thirst for vengeance? Imagine a darker Su-ho, bent on punishing those responsible for his near-death, dragging Si-eun along for the ride. Their once-solid friendship could crack under the pressure of differing moral compasses.
Would Si-eun let his sharp mind be used as a weapon for revenge? Or would he try to pull Su-ho back from the brink? It’s a tantalizing arc, one that puts brotherhood, ethics, and survival at odds.
Or… A Power Vacuum & New Rulers?
With the Union dismantled, a power vacuum looms. What if rival schools or former underlings scramble to take control? Si-eun, Su-ho, and their gang might be forced into new alliances or war with former friends. A battle royale for street dominance could unfold, with shifting loyalties and fresh betrayals.
While nothing has been confirmed yet, Weak Hero Class 3 has endless potential if done right. Whether it leans into emotional arcs, raises the action bar, or introduces smarter villains, the key will be to evolve without diluting the show’s identity.
And if the creators really want to surprise fans? Throw in a moral dilemma bigger than any punch.
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‘Secrets Happened on the Litchi Island’ Review: Summer Love in 7 Soft Slices
Sneha Jaiswal (Twitter | Instagram)
In a beautiful little island where litchis grow in abundance, Nie Xiao Zhi arrives to spend his summer break with his older brother, a teacher running a summer camp for kids. There, Xiao Zhi falls for his brother’s friend Chen Li, first a doting older friend, and then maybe more. Romance blooms as they splash in swimming pools, pluck fruits from farms, cycle along nature trails, and watch stunning sunsets in the 2025 mini-series Secrets Happened on the Litchi Island. It is a breezy summer romance that’s inspired by , with a bonus episode featuring the leads reading out of the book by André Aciman.
Actor Hu Yi Chen plays the young, playful, vulnerable Nie Xiao Zhi, while Liu Yi He portrays the older Chen Li, a nurturing, cheerful, laid-back teacher. Spanning just seven episodes, ‘Secrets Happened on the Litchi Island‘ first focuses on the simple charms of holidaying at a small, lush green island. Nie Xiao Zhi and Chen Li become instant friends, with Chen Li serving as a gracious host, happily taking the visitor everywhere. When Xiao Zhi’s brother Xiao Long (actor He Kun) notices Zhi’s visible crush on Chen Li, he warns Zhi that he might only be setting himself up for heartbreak. So will the two end up together or drift apart as soon as Zhi’s break is over? It’s all about young love, scenic trails, flirting, longing, pining, and hurting until things get better.
Each episode is less than 15 minutes long, so ‘Secrets Happened on the Litchi Island‘ is fast-paced, yet deliciously relaxed in its storytelling, letting its leads frolic around the island. The cinematography is charming, dreamy, with several beautiful outdoor shots dominating the screenplay. What heightens the visual experience of the series is the fact that it’s complemented by a rich ambient score: sounds of the rain pattering, wind swooshing, cycle bells ringing, and such. But even the musical score dreamily matches the romantic mood of the tale. It features several piano scores, some of which clearly sound inspired by Sufjan Stevens‘ sound, who composed the music for ‘Call Me By Your Name‘.
The only thing that didn’t make sense in the story is the fact that Xiao Zhi and Chen Li become estranged for a while over a misunderstanding, the kind that could’ve simply been clarified over a phone call. In fact, in an ironic scene towards the climax, Xiao Zhi rushes over to meet Chen Li to ask something and Li tells him, “You could’ve just called.” Exactly! Zhi’s elder brother unwittingly plays mischief-maker in their relationship, leading to a lot of unwanted heartache. It didn’t seem characteristic of Chen Li to not make more effort in clearing the air between him and Zhi. The writers should’ve given a stronger emotional conflict in the tale, instead of relying on a simplistic ‘misunderstanding’ trope.
The onscreen chemistry between Hu Yi Chen and Liu Yi He is quite electric, their ease around each other palpable on the screen. Hu Yi Chen shoulders the different moods of the young Xiao Zhi with grace, from just having fun around the island to breaking down emotionally when he thinks his love might be unrequited. He Kun as his brother wasn’t very convincing, although maybe some more screen time between the brothers would’ve helped, because they are clearly close, but their sibling bond doesn’t get enough space. The climactic episode swiftly resolves the conflict between the leads, delivering a heartwarming ending that’s sealed with a kiss.
If not for the ‘misunderstanding’ misfire, Secrets Happened on the Litchi Island is a lovely little summer romance. Those who like soft summer romances like ‘Call Me By Your Name’ will definitely enjoy this surprisingly sweet Chinese coming-of-age love story.
Rating: 4 stars on 5. Watch the series on YouTube.
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May 23, 2025
Sirens Ending Explained: Why Simone’s Power Move Made Sense
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Did you go WTF at the way Netflix’s mini-series Sirens wrapped up? The ending might’ve felt abrupt, but it wasn’t exactly out of the blue. Sure, it needed just a little more build-up, but the groundwork was always there. After all, it was Michaela Kell who taught Simone to leave behind “what doesn’t serve you.”
Let’s recap the chaos. (Spoilers ahead)
Devon (Meghann Fahy) arrives on a surveillance-heavy island to rescue her younger sister Simone (Milly Alcock) from the hypnotic grip of billionaire boss Michaela Kell (Julianne Moore). Michaela’s mansion is governed by bizarre rules (no carbs, for instance) and an almost cult-like hierarchy. Devon is convinced Michaela may have murdered her husband’s first wife, and possibly runs a cult disguised as an elite retreat. But across the five episodes, viewers are left wondering, is it really a cult, or just rich-people weirdness?
Simone is unapologetically enjoying the lavish lifestyle: the clothes, the jewels, the proximity to power. She’s also secretly dating Michaela’s much older (and very rich) friend Ethan Corbin. When Devon questions this secrecy, Simone claims her discretion is to not upset Michaela. Meanwhile, the household staff despises Simone as she constantly orders them around. The staff regularly mocks Simone in a private group chat, but she couldn’t care less. She has Michaela’s favor, and that’s all that matters.
Simone’s refusal to return home with Devon becomes clearer when their tragic backstory unfolds. After their mother’s suicide, their alcoholic father neglects seven-year-old Simone so severely that she’s eventually placed in foster care, where she suffers further abuse. Devon, away at college during all this, carries guilt over it but that’s not the case with her younger sister. Simone just wants distance, which is why she tries to buy that distance by offering Devon money, which Devon assumes is Michaela’s master-plot. It’s not.
A crucial flashback reveals the true depth of Simone and Michaela’s relationship. When Michaela first interviews Simone for the assistant role, they instantly click. Both lost their mothers young. Both got into Yale Law on full scholarships, although Simone dropped out after a year. For Michaela, Simone isn’t just staff; she’s a younger version of herself, someone to mentor, mold, and maybe even love. Their dynamic borders on creepy siblinghood, filled with emotional dependence disguised as empowerment. It’s no wonder Simone clings to Michaela, she’s the first person who made her feel seen, not pitied.
While others label Michaela a manipulative gold-digger who bagged a billionaire, we get glimpses of a more complex woman. Once a high-achieving lawyer, Michaela gave it all up for love, or at least the illusion of it. Her paranoia builds when Peter, her husband, stops responding to her flirty texts. She suspects infidelity and hopes to catch him in the act, which would be the only way to benefit from their prenup in a divorce.
“I was busy being love-bombed by a billionaire, I signed it with hearts and dots” she tells a lawyer friend on the phone when he expresses surprise at how she could sign a pre-nuptial agreement that leaves her with practically nothing if she were to get a divorce.
That’s when she sends Simone to spy on Peter. But things spiral: Peter misreads Simone’s friendliness and kisses her. Shocked, she pulls away but not before a photographer snaps a photo. How the paparazzo magically appears on a secluded beach is anyone’s guess, but the picture ends up with Michaela. Feeling betrayed, she fires Simone. Devastated but cornered, Simone does what she has to: survive.
Instead of leaving the island, she pivots. Knowing Peter’s attraction to her, she tells him Michaela has the damning photo. Peter, panicked about divorce evidence, has it retrieved and destroyed. With no blackmail leverage left, Michaela’s position weakens and Simone seizes the opening. She replaces Michaela as Peter’s new partner. And just like that, the assistant becomes the next Mrs Kell to be.
Devon is heartbroken to see her sister align with the older billionaire. Michaela, oddly, accepts this shift with surprising grace.
So, did Simone “betray” Michaela? Not quite.
Simone’s final move might feel cold or opportunistic, but it makes perfect sense when you view it through the lens of survival. For someone who has known only abandonment, poverty, and abuse, the island represented not just comfort — but control. Michaela promised her power, and when that promise was broken, Simone didn’t just flee. She adapted. She learned from Michaela’s own playbook: when you’re backed into a corner, you rewrite the rules. She wasn’t looking for revenge, she was choosing herself. And for once, no one else was writing the script of her life.
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Sawaddee Wan Jan(s) Review: Bumpy Time-Loop Film
Sneha Jaiswal (Twitter | Instagram)
The opening scene of the 2025 Thai time-loop comedy ‘Sawaddee Wan Jan(s)‘ (Happy Mondays) is super fun: the protagonist wakes up, confidently heading to college, then waits to catch his crush after she slips on the stairs, only to realize it freaking hurts, as they both collapse to the ground and he screams like a scream-queen in pain, then jumps to his death so that he can start the day again. He has been stuck in the same Monday for days.
Directed by Chakorn Chaiprecha, ‘Sawaddee Wan Jan(s)‘ stars Oab Oabnithi Wiwattanawarang as lead protagonist Earth, an aimless student in the eighth year of his college, who seizes the chance to win over his crush Saimai (PP Punpreedee Khumprom Rodsaward), when he realizes he keeps waking up on April 1st repeatedly. Unfortunately, the Monday also happens to be an exam day, and Saimai is too anxious about her grades to even glance at Earth, so it’s not going to be an easy challenge to win her over in one day. Add to Earth’s woes, Saimai seems to be more interested in Tae (Poon Mitpakdee), a cute popular singer who studies in the same class.
The first half of ‘Sawaddee Wan Jan(s)‘ is comedic, however the plot starts to have continuity issues after the one-hour mark and dumps its time-loop premise. For instance, Saimai shows no romantic interest in Earth, however, after he repeats a couple of Mondays, the writers show Saimai to have a soft spot for him. That twist really didn’t align with the plot, and then there were a couple of other things that happen too quickly and are clearly inserted in the script for drastic drama. After watching ‘Palm Springs‘, a witty, well-paced time-loop comedy with Andy Samberg and Cristin Milioti, my standards for the genre have gone way up.
While the romance is thin in Sawaddee Wan Jan(s), the laughs also dry up in the second half of the film. The focus shifts from Earth trying to win Saimai over, to Earth ‘fixing’ all his mistakes and turning over a new leaf. Suddenly it’s all about him being a ‘bad friend’, ‘bad son’, and a ‘bad human being’ in general. Victor Chatchawit Techarukpong plays Earth’s roommate Rak, who bears some unexpected brunt of Earth’s impulsive actions.
Apart from the uneccassry shift in tone and themes, ‘Sawaddee Wan Jan(s)‘ also featured some jarring cuts and awkward scene transitions that made it seem like the creators simply didn’t have the patience to re-shoot scenes that lacked continuity. Although, otherwise the cinematography is simple and engaging enough to keep audience around until the end. Most of the cast is charming in their parts too, but it’s only Oab Oabnithi Wiwattanawarang’s Earth who gets a solid character arc in the tale.
Sawaddee Wan Jan(s) had a lot of potential as a comedy, but the creators scramble to pack in too much emotional drama in the 2-hour runtime, robbing it of its humorous edge.
Rating: 5.5 on 10. Watch it on Netflix.
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Key Characters Missing from the ‘Rose of Versailles’ (2025) Anime Movie
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Even if you’ve never read Riyoko Ikeda’s legendary manga The Rose of Versailles, you might still feel like something’s missing from the sparkly 2025 anime movie adaptation. Because let’s be real – it is missing things. Key subplots? Gone. Political drama? Trimmed down. And worst of all? Some truly iconic characters were washed down or got the chop entirely.
If you’re a longtime fan of the original manga or even the classic 1979 anime series, you’ll know what I mean when you realize these four characters were completely snubbed in the movie. Let’s break it down…
1. Rosalie Lamorlière
Rosalie is basically the underdog Cinderella of Versailles – a sweet but spirited girl from the lower class, whose tragic backstory and personal growth are a huge part of the original story’s heart. Adopted by Oscar’s mother, Rosalie gets pulled into the world of nobility, vengeance, and politics. Her emotional bond with Oscar and André brings much-needed warmth to the palace drama.
But in the 2025 film? She gets a blink-and-miss role, and non-manga readers won’t even register her importance. No training montage. No revenge arc. It’s a real shame, because Rosalie added layers to the class conflict and showed how Oscar’s kindness reached beyond her military persona.
2. The Duchess of Polignac
Ah yes, Madame Polignac, Marie Antoinette’s real-life BFF and royal moocher-in-chief. She’s glamorous, manipulative, and totally in it for the perks of court life. In the manga, she plays a pretty important role in showcasing Antoinette’s bad judgment and obsession with all things fabulous. But she is nowhere to be seen in the film version, maybe she’s in the background, but not as an active character.
Cutting Polignac out robs the audience of some juicy Versailles drama. The woman was basically the Regina George of the French court. Without her, Antoinette’s fall from grace feels a bit less… well… earned. She’s like the missing link between Antoinette’s charm and her eventual public enemy status.
3. Duke of Orléans
Oh yes, the shady cousin with revolutionary ideas and his own thirst for power. The Duke of Orléans added delicious political intrigue to the story. He wasn’t just another aristocrat, he was part of the larger storm brewing beneath the polished marble floors of Versailles.
In Ikeda’s manga, he’s a key part of the anti-monarchy plotline, and skipping him means the movie leaves out a major thread that connects the palace to the rising tide of revolution.
4. Madame Du Barry
Oh, come on! How do you do a Versailles story and leave out Du Barry?! The King’s controversial mistress and the original court villain in The Rose of Versailles, Madame Du Barry was a firecracker: seductive, clever, and always stirring the pot. She and Marie Antoinette’s early feud is one of the most entertaining parts of the manga.
Du Barry’s exclusion means we skip that dramatic arc where Antoinette’s childish stubbornness and courtly arrogance are first tested. It’s like the movie just glosses over her first taste of real political tension, which is a huge part of her development!
Sure, the 2025 film looks stunning, from the glittering ballrooms to the watercolor skies. And Oscar and Marie Antoinette still sparkle. But by trimming down the cast, the movie loses a lot of what made The Rose of Versailles such a sweeping epic in the first place: layered characters, palace politics, and the intricate web of relationships that lead to revolution.
So if you walked out of the movie thinking, “Wait, wasn’t there supposed to be more?” – you’re not alone. These characters didn’t just get left behind… they deserved their moment to shine.
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