Hacks Season 4

I originally thought that by Season 4, they’d finally move things forward and stop tiptoeing around whether the two of them are in love. But nope—Season 4 completely fell apart. So here I am again, retracing the romance arc… A lot of people were moved by Deb’s gaze during the first taping, but that look was a callback. So let’s rewind to that final gaze at the end of Season 2. That night, when Deb was surrounded by a crowd, bathed in stardust, the center of everyone’s attention—in that moment, the only person she could see was Ava. She wasn’t even especially happy about the success of her special. What she noticed instead was that Ava, in chasing her own career so intently, had let her own ambitions fall by the wayside. So, in the middle of all that noise, Deb walked up to the rooftop alone, looked out over the “great lands” of Los Angeles, and made the painful decision to “send her away.” And Ava—well, that really is how she was. Before Deb, she’d lost her job over calling out a closeted homophobic senator by recklessly attacking everyone. Then she shamelessly asked for help from people who clearly didn’t care for her. But after meeting Deb, all she could see was Deb. She completely ignored the advocacy and voice she used to be so passionate about. These two are basically a couple already—except they haven’t had sex. She stares at her through fire. She runs to her at the edge of a cliff. If that’s not love, then what is? Season 3 had so many moments like this. No matter how chaotic the crowd, Deb always notices Ava. And even though Ava has so many better career options, she always chooses to come back to Deb. Especially the ending! Because Season 4 opens with them popping champagne together, we can confirm that in the Season 3 finale, Ava staying to compete for the head writer position was *not* out of revenge. The best revenge would’ve been to leave and watch Deb’s career crash and burn. So the true ending of Season 3 is this: Ava, heartbroken and ready to leave, suddenly realizes—while picking up that champagne in the convenience store—that Deb is deeply, deeply lonely. And she decides to stay. Even if it would upset Deb, she chooses to stay and protect her. To protect the Deb who was left opening a bottle of champagne all by herself. That’s why she held onto that bottle—waiting for the chance to open it *with* Deb. Even if we ignore all the other details—just the moment of that shared champagne and the gaze during the first taping—that kind of persistent tenderness, that single-minded focus on healing the other’s wounds… if *that’s* not love, then what is? Their story is not about "you are me" conflicts—it’s about how two strangers, through inevitable friction, come to understand, trust, and protect each other. (Underline that.) In short: this is exactly how romantic love typically develops. Now, if some people insist that if they haven’t had sex, it’s not love—that love must involve sexual attraction—I suppose I can understand that. Everyone’s different. Mutual respect and all. But even if you step way back and say: okay, let’s call this Platonic—between two unrelated people with no pure benefit-driven relationship—such deep understanding and protection? That still makes perfect sense. So can we *please* stop with the “it’s not love, it’s just a mentorship” or “that interpretation is so basic/cheesy” takes? Two women with a large age gap being automatically reduced to mentor-mentee or mother-daughter is what’s actually tired, actually clichéd. (Personally, I feel like people who can’t stand others reading love into this dynamic—*in this show specifically*—are either homophobic, or more likely, lesbophobic. And that’s honestly just heartbreaking.)

The Residence

As a mystery enthusiast, I noticed as early as the second episode that the series’ title design is quite ingenious. Upon checking, it turns out the titles not only originate from famous detective novels or suspense films but also closely match the content of each episode. It’s clear the creative team put a lot of care into this (although this series combines mystery investigation with political satire, this review focuses solely on the mystery aspect and contains some spoilers—read with discretion if you haven’t watched it yet). **Episode 1: The Fall of the House of Usher** A very famous work that probably needs no introduction, one of Edgar Allan Poe’s best-known short stories. It tells the eerie tale of the Usher estate and a pair of twins living there. Incidentally, Netflix released a series by the same name in 2023, which you might want to check out. The first episode serves as the case’s prologue, introducing the discovery of AB’s death, the various characters involved, and the backdrop of the White House state banquet. Using this classic as the episode title feels perfectly fitting—the White House, a building with a long history, parallels the Usher estate and foreshadows the eventual fracturing of relationships inside. **Episode 2: Dial M for Murder** One of Alfred Hitchcock’s classics, featuring businessman Tony who, upon discovering his wife Mary’s affair with a detective novelist Mark, meticulously plans a seemingly perfect murder by phone. This episode depicts AB receiving a mysterious phone call that lures them to a location, after which they realize their life is in danger. The phone call is a key prop and signal in Hitchcock’s film and also marks the malicious beginning in this series. **Episode 3: Knives Out** A well-known recent classic detective film starring Daniel Craig as the famous detective Benoit Blanc. It centers on the mysterious death of wealthy novelist Harlan Thrombey on his 85th birthday and the ensuing investigation of his vast inheritance. The key prop in this episode is a knife, used to sever AB’s wrists. The storyline revolves around tracking down this knife and its owner, truly embodying the “Knives Out” title. **Episode 4: The Last of Sheila** A 1973 classic detective movie, notable for having Anthony Perkins—star of Hitchcock’s “Psycho”—as one of its screenwriters. This episode focuses on the White House butler Sheila Cannon and her series of actions. It explores her role in the case and her habit of lying. The title cleverly references her name. I also noticed the character’s surname “Cannon” might be a nod to Dyan Cannon, the lead actress in the original film—perhaps an intentional tribute by the creators. **Episode 5: The Trouble with Harry** Another Hitchcock film, about a quiet town shaken by a sudden death, with several people thinking they might be the culprit—yet the truth surprises everyone. Here, suspicion begins to concentrate on Harry Hollinger in the latter half of the episode, matching the title. By this point, every suspect seems to have a motive to kill AB, echoing the film’s tangled web of suspects. **Episode 6: The Third Man** A British thriller directed by Carol Reed, adapted from a Graham Greene novel, revolving around the search for a mysterious “third man” at a crime scene. This episode introduces the presence of a third person at the scene, pushing the investigation deeper toward the truth. **Episode 7: The Adventure of the Engineer's Thumb** A Sherlock Holmes short story by Arthur Conan Doyle. The central figure in this episode is the White House engineer and his role in escalating the case. The character calls himself “Engineer” and values this identity; though the original story involves a thumb, this series seems unrelated to that detail. **Episode 8: The Mystery of the Yellow Room** A classic locked-room mystery novel by Gaston Leroux, known as the first long locked-room murder mystery, which set the standard for this genre. Seeing this as the final episode’s title gave me great satisfaction—the creative team really knows their stuff. There is a sense of returning to the origin: everything started in the yellow room, and everything ends there. The crime scene returns to this room; the detective leads everyone back to it. The locked-room puzzle returns to its roots. Whether the idea of the White House’s yellow room came first or the title was decided earlier, it doesn’t matter. As a mystery fan, this Easter egg is a gift to all who love the world of deduction. Both the book and this series share a theme of a locked-room murder that’s not quite locked. Having gone through all the titles, I must say I really enjoy this series. The plot is intricate without being dull, the clues interwoven yet clear, the gimmicks big, and the detective wonderfully eccentric. At the same time, it also offers some insights into the White House’s structure and bird species. A truly excellent work.

Cruel Intentions

In recent years, there has been a lot of talk about the downgrade of global aesthetics, and in fact, the "scale" of movies and TV shows has also declined. At the end of the 20th - century, a large number of love movies with bold ideas and amazing scales emerged. In the 1988 film *Dangerous Liaisons*, two friends in the romantic world used the virginity of a 16 - year - old girl as a bet in a game. (Still from *Dangerous Liaisons*) The 1994 film *Interview with the Vampire* had a strange combination of two men and a young girl. The moral ambiguity of their relationship, which was both father - daughter and lover - like, made countless audiences obsessed with the story. (Still from *Interview with the Vampire*) In the 1999 film *Cruel Intentions*, a pair of step - siblings decided to play a dangerous game. If the brother lost, he would lose his luxury sports car; if the sister lost, she would have to offer her body. (Still from the movie *Cruel Intentions*) Taboo relationships, incest, and forced love, these themes were all over Hollywood at the end of the 20th century. In the current era of shrinking originality, what should be done when there are no new ideas? Remake! Therefore, Amazon set its sights on the 1999 film *Cruel Intentions*, and the TV series version was launched on November 21. Crazy siblings, perverted games, how dramatic is the plot? *Cruel Intentions* 01 The Bet Caroline (played by Sarah Catherine Hook) is the president of a sorority. It's the recruitment season again, and she must recruit a very key new member: Annie (played by Savannah Lee Smith), the daughter of the vice - president. These fraternities and sororities seem to be just insignificant student groups in the university, but in fact, they are means for the upper - class to win over the powerful through the next generation. Naturally, the affiliation of the vice - president's daughter has become a top - priority concern for everyone. For Caroline, winning over Annie is not only about re - establishing the status of her sorority, but also about meeting her mother's political goal of befriending the vice - president's family. No matter what the cost, she must win Annie's heart. (Still from the TV series *Cruel Intentions*) Caroline came up with a brilliant idea. Her step - brother Lucien (played by Zach Burgess) is a well - known playboy who has had many relationships with women. It would be a natural fit for him to seduce the pure - hearted Annie. So the two siblings made a bet: Lucien would go to seduce Annie. If he failed, he would lose his sports car; if he succeeded, he would be able to spend a night with Caroline. What? Did I hear that right? These crazy siblings also have a crush on each other and fantasize about each other's bodies. Pseudo - incest is still incest! 02 Perverted Siblings The above - mentioned perverted bet is just the tip of the iceberg of the perverted daily life of these siblings. At the orientation party, Caroline revealed a secret about herself to gain everyone's trust. "I gave my virginity to my tennis coach. I thought I had found true love, but he disappeared the next day. Later, I found out that it was all arranged by my mother, to make me feel desired, because no one would really like me in reality." When everyone heard this, they fell silent. It seemed that their own little secrets seemed quite normal under such a perverted plot. (GIF still from the TV series *Cruel Intentions*) In order to assess the overall appearance of the new members, Caroline arranged for Lucien to have sexual encounters with each candidate in turn. He would record their body measurements and sexual performances with his eyes and report back to Caroline. (GIF still from the TV series *Cruel Intentions*) In addition, Lucien has a strange habit: he records videos during sex. Many girls agreed to the recording out of trust in him, but they didn't expect that the real purpose of the recording was to share it in an album for Caroline to watch when she needed it. That is to say, although the two did not really have a physical relationship because of their seemingly "sibling relationship", they satisfied their desires by watching each other's sex videos. This is really extremely perverted... (GIF still from the TV series *Cruel Intentions*) Let's get back to the main plot - Lucien's pursuit of Annie. During the process of getting along with Annie, the playboy Lucien actually fell in love with this girl, and he chose to back down at the critical moment when the two were about to have a sexual relationship. Caroline was furious when she learned about this. Firstly, she was worried that her plan would fail, and secondly, she was afraid that Lucien would really fall in love with Annie and lose interest in her. Therefore, Caroline, who is good at manipulating people's minds, chose to expose Lucien's sex videos, and timely offered the warmth of the sorority to Annie, whose love had been broken. Finally, she successfully won over Annie. And Lucien, who was betrayed, did not show weakness. He found Caroline's mother, and the two moved from the sofa to the bedroom in an ambiguous atmosphere. (GIF still from the TV series *Cruel Intentions*) "A new video has been added to your shared album." Caroline opened her phone and saw that it was actually a sex video of Lucien and her mother... OMG... Is this the scale of European and American狗血 (lit. dog - blood, means melodramatic) romance dramas? (GIF still from the TV series *Cruel Intentions*) 03 Successful Casting and Sexual Positivity Looking at this plot, it can be compared with the *Gossip Girl* that became popular all over the world back then. Who doesn't like to watch the dramatic life of the upper - class? Moreover, the casting of the three main characters in this TV series has not been too severely affected by the "downgrade of global aesthetics", and the three are still within the category of handsome men and beautiful women. Savannah Lee Smith, the actress who plays Annie, has extremely delicate features. (Still from the TV series *Cruel Intentions*) In addition, the TV series version of *Cruel Intentions* handled the situation after Lucien's sex video was exposed very well. Not surprisingly, Lucien received a lot of praise from the male group, and some people even came to ask for advice. The girl in the video did not identify herself as a victim. She did not cry bitterly or stay behind closed doors. Instead, she "admonished" her friends not to engage in sexual shaming. This can be regarded as an aspect of the current female consciousness of combating slut - shaming in film and television. (GIF still from the TV series *Cruel Intentions*) It's full of melodrama, brainless, and has an amazing scale. This is the kind of drama that you may be looking for to kill time! Don't miss the pleasure of watching it all at once.

Happy Face

**Story Summary:** Melissa, who appears to have a perfect life and successful career, is recruited by the police to help investigate a cold case. The twist? Her estranged father is none other than the notorious serial killer Keith Hunter Jesperson—aka the Happy Face Killer. Keith wants to see his daughter again and offers previously undisclosed information about his crimes in exchange for a conversation with her. As long-buried family secrets resurface, Melissa’s home life begins to unravel. **Viewer Commentary:** This series breaks away from the typical true-crime formula that centers solely on the killer. Instead, it shifts the focus to the emotional and psychological aftermath experienced by the killer’s family. In one memorable scene, when the father and daughter reunite after fifteen years, viewers might expect a grim, suspenseful interrogation. Instead, it’s unexpectedly warm and humorous—like a dysfunctional family reunion, complete with dad lecturing his daughter and the daughter snapping back. It’s an unusual, yet refreshing, narrative choice for the genre. **Acting Highlights:** The performances are a major highlight. Annaleigh Ashford (gorgeously blonde and radiant!) brings Melissa to life with nuance and vulnerability. Her soft, high-pitched voice and expressive emotional delivery vividly convey Melissa’s internal turmoil, her shock upon hearing from her father, and her helplessness in the face of a crumbling family. Dennis Quaid, playing the killer dad Keith Jesperson, is equally compelling. With subtle shifts in tone and expression, he portrays a man who is manipulative, oddly charming, and chillingly evil—keeping viewers both fascinated and uneasy. **Production Quality:** The production is solid. Scenes involving forensic investigation and clue-tracing are handled with effective editing and camera work, maintaining suspense. The art direction thoughtfully complements the emotional tone: flashbacks are cast in dim, muted hues to reflect trauma and oppression, while present-day sequences are sharper and brighter, emphasizing tension and uncertainty. **Overall Impression:** This series is ideal for viewers who enjoy a blend of crime drama and emotional family narratives, and who appreciate deeper psychological exploration. It offers thoughtful commentary on the social ripple effects of real-life crimes and benefits from strong performances and stylistic coherence. However, those who favor tightly-paced plots and airtight storytelling may find it somewhat lacking in narrative rigor.

Sirens

Analysis of Character Portrayals in *Sirens* Since *Big Little Lies*, the female ensemble drama that left the deepest impression was *Sharp Objects*, and this year, *Sirens* has stood out with its classic "three women's drama" framework. Initially drawn by Julianne Moore and a cast of familiar faces, the lead actors all delivered remarkable performances—particularly Meghann Fahy (as Devon), whose portrayal surpassed her roles in *The Perfect Couple* and *The White Lotus* in nuance. From her foul-mouthed early days to her "demure wife" undercover act, and finally to the poignant farewell scenes with Simone and Mikaela, her performance evolves through distinct layers. Inner thought: Could she be angling for mainstream awards with this role? Below is an exploration of the main characters (personal views, approx. 3,500 words). #### **1. Devon: The Self-Sacrificing Guardian** Devon embodies the "ideal" motherly figure in the series and stands as the most "kind-hearted" character. In the first half, unaware that she dropped out of Ohio State University to care for Simone, viewers see her as a tough, sister-loving rebel. The revelation of her sacrificed future—abandoning higher education to rescue Simone from their abusive father and become her guardian—highlights her compassion, even extending to their ailing father. When Simone accuses Devon of defining herself through caregiving and fearing her recovery, the plot teases a potential Munchausen by Proxy twist (a trauma from *Sharp Objects* and *True Detective*). Thankfully, Devon breaks free: she dumps Raymond, apologizes to his wife, and lets Simone go. Her decade-long sacrifice stems from love for Simone and a desire to heal the trauma of their mother’s suicide attempt—by ensuring Simone lives fully. Her alcoholism, promiscuity, and foul language are coping mechanisms for caregiving stress, gradually diminishing as she confronts family secrets. Devon’s search for Simone is also a spiritual quest: 1. *First Island Visit*: Confused by Simone’s role as a waiter/babysitter assistant, she can’t fathom why her sister abandoned Yale. 2. *Mikaela with a Dead Bird*: Convinced Mikaela has brainwashed Simone, she sees herself as the rescuer, echoing her role saving Simone from their father and mother. 3. *Cocktail Party Panic*: When Simone collapses from a panic attack, Devon reverts to her protective role. 4. *Gala Finale*: Witnessing Simone’s transformation, Devon realizes her sister is self-sufficient. She tearfully bids farewell, letting go of the urge to "rescue" or judge. **2. Mikaela: The Calculating Survivor** Mikaela’s love for animals mirrors her skill in manipulating vulnerable people (e.g., comforting Bruce during his episode). Her defining moment comes at the ferry ending, where she accepts her predicament with calm detachment. Married to a millionaire without children, her marriage crumbles when she tries to control Peter. Though initially a regal hostess, she falls from grace—but her self-awareness keeps her composed. Her line "Simone isn’t a monster" feels forced, perhaps over-idealizing her to promote "girls help girls." Compared to Simone, Mikaela’s privilege (a past career, better manners) contrasts with Simone’s darker edge. Their shared trauma (absent mothers, poverty) vs. differences (fertility, moral ambiguity) offer rich ground for analysis. #### **3. Simone: The Trauma-Driven Chameleon** Simone’s character lacks depth—more psychological scenes could have smoothed her abrupt shifts. Her trauma justifies her actions: worship of Mikaela, hatred for her father, and emotional manipulation of men (Raymond, Ethan). As Raymond and Ethan note, she destroys others to rise—stealing Mikaela’s life and exploiting Devon’s sacrifice. Her darkness, while explained by trauma, leaves room for deeper exploration. #### **4. Peter: The Capitalist Elite Archetype** Peter’s arc is compelling: from panic attacks to orchestrating his image. After Mikaela fires Simone, his panic stems from guilt and loss of control. Learning Simone’s secrets, he swiftly disposes of evidence, divorces Mikaela (via prenup), and replaces her with Simone—exposing his narcissism, control freak nature, and disregard for others. Details like his casual kiss on Simone, callous divorce, and dismissal of Ethan’s relationship reveal his elitist entitlement. Yet he also shows vulnerability: missing his children, smoking weed, and craving authenticity. His panic disorder humanizes him slightly, but his core remains a satire of capitalist greed and misogyny. #### **5. Supporting Roles: Comedy and Symbolism** - *Jose*: Shifts from friendly to obsequious, embodying loyalty to power. - *Morgan*: The handsome, romantic foil, offering a contrast to toxic masculinity. - *Ethan*: His impulsive proposal reeks of midlife crisis and performative virtue. - *Copycat Wives*: Dressed in pastels beside Mikaela’s white suit, they symbolize women enslaved by wealth and status. - *Comic Relief*: Gardeners, drunk police officers, etc., lighten the drama while mocking elitist absurdity. **Conclusion: A Stylish, if Flawed, Ensemble** *Sirens* succeeds in crafting conflict (trauma, marriage, class) and complex characters (Devon, Peter). Its Greek myth symbolism, scenic island setting, and blend of drama/comedy align with Netflix’s formula (reminiscent of *The Perfect Couple*). While Simone’s development feels rushed, the series effectively critiques power, trauma, and female survival in a capitalist world—making it a worthy addition to the female ensemble genre.

The Four Seasons Season 1

I officially declare that after watching dozens of bromance movies and shows over the past 10+ years, this couple is just way too, too, too ship-worthy!!! Danny tricks Cloude by saying the wedding song he wants is the one Anne and Nick used, but Anne shoots that down on the spot. Cloude looks so sad yet patient, still sings the song all the way through, and Danny’s pitiful little expression is just super, super adorable. *You're still the one* Little Italian 0 is deeply in love with Danny—he can’t live without him, constantly reminds him to take his meds, worries a lot about his heart surgery. When Danny casually says he’s busy and wants to reschedule the surgery, he immediately obediently contacts the clinic to rearrange it. After Danny’s surgery, he sleeps badly in the tent, and Cloude immediately sets up a cozy sofa bed inside the tent. Danny went down south for a 3-month project. Even though he misses Cloude terribly, he puts on a brave face and acts proud that he can live on his own! It’s just too, too, too adorable! This song really suits the other two couples besides Nick and Anne: --- *Looks like we made it Look how far we've come, my baby We mighta took the long way We knew we'd get there someday* *They said, "I bet they'll never make it" But just look at us holding on We're still together, still going strong* *Mm (you're still the one) You're still the one I run to The one that I belong to You're still the one I want for life (You're still the one) You're still the one that I love The only one I dream of You're still the one I kiss goodnight* *Ain't nothin' better We beat the odds together I'm glad we didn't listen Look at what we would be missin'* *They said, "I bet they'll never make it" But just look at us holding on We're still together, still going strong* *Oh You're still the one I run to The one that I belong to You're still the one I want for life (You're still the one) You're still the one that I love The only one I dream of You're still the one I kiss goodnight* *You're still the one* *Yeah (you're still the one) You're still the one I run to The one that I belong to You're still the one I want for life, oh yeah (you're still the one) You're still the one that I love The only one I dream of You're still the one I kiss goodnight* *I'm so glad we made it Look how far we've come, my baby* --- Sharing two links: 1. Marco Calvani’s interview with *Vanity Fair* — networking really is super important!!! *Meet Marco Calvani, Loud and Proud Breakout Star of The Four Seasons | Vanity Fair* 2. The full collection of Danny’s outfits from the show: *Netflix 'The Four Seasons': Where to Get Colman Domingo's Outfits as Danny — Femestella*

A Nice Indian Boy

Mid-Century Modern

I was actually looking forward to Mid-Century Modern—after all, Peacock is starring in it, and the premise reminded me of one of my favorites, Hot in Cleveland: three single older 🌈 (older women) living under one roof. Just imagining it sounded full of drama. But after it premiered, the show turned out to be pretty lukewarm. It feels very dated—both the plot and the jokes are old-fashioned. What’s worse is the way it portrays 🌈 stereotypes. There’s been no progress at all—it’s still stuck on the same tired tropes of flamboyance and emotional outbursts. Honestly, it adds nothing new or meaningful. ⭐️ The most disappointing part is Peacock himself. The “naïve cutie” type of role usually shines in a sitcom, but he’s really not suited for comedy. As gorgeous as he is, there's no soul—he’s too stiff, too self-conscious. It comes off as forced rather than funny. Come to think of it, it’s been a long time since there was a truly good sitcom. Got any recommendations?

Le Petit Prince

The fox said, "To me, you are just a little boy, like all the other thousands of little boys, no different at all. I don’t need you. You don’t need me. To you, I’m just a fox, no different from the thousands of other foxes. But if you tame me, then we’ll need each other. To me, you’ll be unique in my world; and to you, I will be the only one in your world." "If you say you’ll come at four o'clock, I’ll start to be happy from three o'clock. The closer it gets, the more excited I’ll be. When it’s four o'clock, I’ll be restless, and I’ll realize the value of happiness. But if you come at any random time, I won’t know when to prepare my heart to welcome you." "You are beautiful, but you are empty," the Little Prince continued to say to them. "No one will die for you. Of course, my rose, a mere passerby would think she is like you. But she, alone, is more important than all of you, because she is the one I’ve watered. She is the one I placed under the glass dome. She is the one I protected with the screen. She is the one I exterminated the caterpillars for (except for two or three, to become butterflies). I’ve listened to her complaints and her vanity, and sometimes, I’ve listened to her silence. She is my rose." "Without traveling the world, we wouldn’t know what our spirit and emotions are attached to. But once we’ve traveled the world, we find that we can never return to that beautiful place again. When we begin to seek, we’ve already lost, and if we don’t start seeking, we’ll never realize how precious everything around us is." I have always believed that a person can live simply and innocently only because countless others have guarded that simplicity with a greater cost.