Fan Reviews Hub

Terrifier 3

This installment follows the exact rhythm of the second film, featuring supernatural powers and giving off that vibe of the *Friday the 13th* series, where Jason evolved from a mere human killer into an undead evil spirit. It looks like this horror franchise is definitely heading toward becoming a full series. In terms of gore and blood, this movie uses significantly more than the previous one, upping the level of disgusting detail quite a bit. I’m not usually one to enjoy such explicit, grotesque scenes, but in the current horror market flooded with mediocre entries, seeing a work like this is genuinely rare—so I gave it a slightly higher score. The movie was released about half a month after Halloween but is set during Christmas, so it kind of missed the mark timing-wise no matter when you watch it. **Summary:** Worth watching, but with a very niche audience, and you don’t really need to think too much while watching. --- **Story overview:** The survivor heroine from the second film is mentally unstable and constantly hallucinates. Her brother, during these five years, has been researching the clown killer and supernatural topics. He speculates that certain entities from hell require a dead body to enter our world, and serial killers make the perfect vessels. This theory is later confirmed by the plot. At the beginning, the first film’s heroine has already been possessed by a hellish entity. Initially, she retains some control and tries to commit suicide to escape, but fails. Then, on Christmas, the first heroine and the clown both awaken and go on a killing spree. The second film’s heroine is taken in by her uncle’s family, seen as mentally disturbed. The clown kills the heroine’s brother’s close friend at school, and that friend’s temporary girlfriend, who researches serial murders. The clown then kills the brother and the uncle who comes to pick him up, taking their bodies back to the heroine’s home. The heroine breaks down, and her aunt is also killed. During their torture of the heroine, the clown and his female partner break the heroine’s hand and force her to open presents with her broken hand. However, the heroine’s little sister sneaks a look at the heroine’s diary, finds the sword used against the clown in the second film, and puts it into the gifts. The heroine then fights back and kills the clown and his female partner. In the end, the female clown’s head is chopped off. She had tried to possess the heroine’s body but failed, proving the brother’s theory was right. The heroine is chosen to fight these demons. The female clown’s melting head creates a hole, opening a portal similar to hell, into which the heroine’s sister falls. The severely injured clown escapes the scene, leaving only the heroine alive. The story ends with the clown getting on a bus, taking out his little horn, and flashing his creepy smile again.

Thread: An Insidious Tale

Dexter: Resurrection

The Wheel of Time Season 3

Unconsciously, The Wheel of Time (hereafter WOT) Season 3 has come to an end. This article aims to analyze the season’s plot, characters, and settings in relation to the corresponding original novels. Due to personal limitations, there may be errors or omissions—criticism and corrections are welcome. This article uses the Li Lei translation for names and terms; the first time a proper noun appears, the English original is included in parentheses where possible. Brief recap of WOT Season 2 plot: Egwene and Nynaeve become White Tower novices through trials; the trio is betrayed by Liandrin of the Seanchan, with Egwene captured as a Damane (slave channeler). Nynaeve and Elayne rescue her. Perrin rescues Maiden of the Spear Aviendha and later allies with Bain and Chiad for adventures. Mat sounds the Horn of Valere, summoning ancient heroes to repel the Seanchan invasion at Falme. Rand defeats the Forsaken Ishamael with help, confirming his identity as the Dragon Reborn. Lanfear reveals herself as a Forsaken to Rand, and Moghedien, another Forsaken, appears near season’s end. Season 2’s TV plot merges parts of books 2 and 3, with some character merges and omissions. Season 3 covers material from book 3 (The Dragon Reborn) and book 4 (The Shadow Rising). Although WOT’s narrative is epic in scale, it is straightforward: protagonists regroup each book for separate adventures and storylines. Let’s organize Season 3’s plot and settings accordingly: Rand, Egwene, Aviendha, Moiraine, and Amys journey to Rhuidean for trials. Perrin, Faile, Royal, Gaul, Bain, Chiad, and Aviendha return to Emond’s Field to defend against Trolloc invasions. Nynaeve, Elayne, Mat, Min, and Thom travel to Tanchico to investigate the Black Ajah and seek the A’dam. 01 White Tower Turmoil Season 3 corresponds to plotlines in books 3 (The Dragon Reborn) and 4 (The Shadow Rising), focusing on far-reaching political upheaval in Tar Valon and the White Tower. The season opens with a major event: the Black Ajah’s defection. Siuan Sanche, the Amyrlin Seat, publicly exposes Liandrin’s identity as Black Ajah during a council meeting. The Black Ajah, who have infiltrated the White Tower, attack fellow Aes Sedai and steal Angreal and Ter’angreal before fleeing. This occurs in book 3. Let’s briefly revisit the Aes Sedai factions, seven Ajahs (orders) within the female channelers’ organization: Blue Ajah: Justice, curiosity, reconnaissance; currently in power. Key figures: Siuan, Moiraine, Leane (Keeper of the Chronicles). Red Ajah: Maintain purity of the One Power; hunt and "gentle" male channelers. No Warders. Key figures: Liandrin, Elaida. Green Ajah: Combat skills and tactics; can bond multiple Warders. Key figure: Alanna. Brown Ajah: History and knowledge preservation; discovered the Black Ajah in Season 2. Key figures: Verin, Nyomi, and Yasicca (a Season 2 original character). Grey Ajah: Meditation and politics. White Ajah: Logic and pursuit of truth. Yellow Ajah: Healing. Additionally, there is the hidden eighth Ajah: the Black Ajah, channelers who serve the Dark One. In Season 3, confirmed Black Ajah members include Liandrin and Nyomi. The Black Ajah’s defection triggers a chain of political turmoil, leading Nynaeve and Elayne to be sent by the Amyrlin Seat to Tanchico to investigate and find the A’dam. Another major White Tower event is Elaida’s coup. Elaida accuses Siuan of betraying the Dragon Reborn and being a friend to darkness, deposes her, and becomes Amyrlin herself. Elaida also “stills” Siuan and Leane, severing their ability to channel. This marks a dramatic shift of power within the Tower and signals the arrival of a new generation and new rules. In the TV adaptation, Siuan is executed, a significant change possibly achieved through montage mixing various scenes involving Siuan’s fate, Moiraine’s desert encounter with Lanfear, and Rand’s assertion of being a Channeler. The show hints Siuan’s death might be a nightmare or a dream manipulation, given Lanfear’s dream mastery. Elaida, introduced in Season 2, takes the lead this season. She served Queen Morgase of Andor as a counselor, and is the first Red Ajah Amyrlin in a thousand years. Although she orchestrates the coup, there is no indication she is Black Ajah, but her character is complex. Elaida’s successor as Morgase’s advisor is Gaebril, revealed this season to be the Forsaken Rahvin, who manipulates the queen and plots against Elayne. 02 Trials of Rhuidean Rand’s storyline: After defeating Ishamael at Falme and confirming himself as the Dragon Reborn, Rand is to undergo trials in the Aiel city of Rhuidean to prove his identity as Car’a’carn (“He Who Comes With the Dawn”), the Aiel’s prophesied leader. Geographically, the WOT continent is divided into Westlands (rich western regions including Cairhien, Andor, Tear, Tanchico), Shara (far east), and the central Aiel Waste desert. Rhuidean is a mist-shrouded, forbidden city in the Aiel Waste. Aiel males can enter only once in their lifetime, females twice. Survival rates are about one-third for males; females survive at higher rates. The trial involves entering Ter’angreal (magical artifacts) that test the candidates. Rand’s trial is the Mirror Forest; Moiraine’s is the Three Rings. With Rand and Moiraine travel Egwene (who follows for dreamwalking training), Aviendha (formerly Maiden of the Spear, now a Wise One), and Amys. Mat, who also undergoes a trial in the books, is reassigned to Nynaeve’s storyline in the show. After arrival, two Aiel tribes, Taardad and Shaido, escort them. The Aiel’s identity centers more on warrior societies (e.g., Maidens of the Spear, Stone Dogs) than tribes. Rand’s trial scenes reveal Aiel history and culture, key to leadership: Scene 1: A young Aiel man accidentally kills while protecting his sister and is banished. The Aiel once revered peace and honor (Way of the Leaf). This young man’s punishment reflects adherence to honor codes. Most Aiel later abandoned pacifism during the Breaking of the World. Scene 2: Aiel entrusted with guarding the powerful Angreal Sakarnen after the Breaking. In the books, the three greatest Angreal are Choedan Kal (two globes), Sakarnen (staff), and Callandor (sword). The show replaces Choedan Kal with a symbolic yin-yang of Sakarnen and Callandor. Scene 3: Lews Therin (Rand’s past life) interacts with the strongest female Aes Sedai/scientist Mierin, who researches and inadvertently releases the Dark One. Post-trial, Rand grows dragon scales on his arms, confirming him as Car’a’carn. Moiraine’s trial shows grim futures where either she or Rand dies. 03 Tel’aran’rhiod (Dream World) Rand’s group undertakes trials in Rhuidean; Egwene studies Dreamwalking with the Wise Ones. Tel’aran’rhiod is the dream world, where events are real and injuries or death in the dream can affect the waking world. This concept somewhat resembles Inception. Dreamwalkers consciously enter this shared dreamscape, but novices should not bring non-dreamers, as it is dangerous. Egwene is learning these skills. Notably, Forsaken Lanfear (“Daughter of the Night”) and Moghedien (“Master of Dreams”) are dream masters who manipulate Tel’aran’rhiod. The group’s collective nightmare at the season’s start is due to Dark One’s corrupting influence leaking as his seal weakens, manifesting in Tel’aran’rhiod. 04 Investigation in Tanchico Nynaeve and Elayne, under the Amyrlin’s directive, travel undercover to Tanchico, the capital of Tarabon, ruled by the Panarch. The Panarch’s palace is the Panarch’s Palace. The Panarch at the time is Queen Amathera, a Black Ajah puppet (mentioned but not shown this season). They are accompanied by Thom Merrilin (a Gleeman, former court bard and Morgase’s lover, and Elayne’s biological father hinted this season), Mat, and Min. Thom did not appear in Season 1, leading to speculation his role was cut. Mat’s prophetic scene with a mysterious seer, originally in Rhuidean trial in the books, is shifted to Tanchico in the show. The character Jiulin (a bounty hunter) from the books is cut. The Amyrlin provides funds for their mission. They hire the Wave Dancer, a swift ship crewed by Sea Folk (Atha’an Miere), a dark-skinned seafaring people living on the Stormy Sea. The ship’s Windfinder (a female channeler) captains the vessel secretly to avoid White Tower conscription. Nynaeve and Elayne discover the Black Ajah seeks the A’dam and collar that can control male channelers. Previously, the A’dam controlled female Damane slaves; now, they want to control male channelers to dominate the Dragon Reborn. They encounter Forsaken Moghedien, a master manipulator and spy, rivaling Lanfear. Moghedien’s name means a venomous spider, matching her character. She charms and interrogates them. Moghedien is weaker in the books but here merges traits with Forsaken Aginor, who creates Shadowspawn; in the show, Moghedien also turns victims into Grey Men (mindless assassins). Season 3 features four Forsaken: Lanfear, Moghedien, Rahvin, and Sammael. Sammael merges traits with Asmodean, who, after defeat, is coerced by Lanfear to teach Rand to channel male Power (said to be captured by Moiraine in the show). 05 Two Rivers Defense Perrin’s storyline is simpler. Perrin and Royal, with Maidens of the Spear Bain and Chiad, return to Emond’s Field to prepare against Trolloc invasion. Darkfriend Padan Fain leads the Whitecloaks to cause trouble in the Two Rivers. With support from Aes Sedai Green Ajah Alanna (and Brown Ajah Verin in the books), Perrin leads villagers in battle. Royal finds and closes a Waygate to stop Trolloc reinforcements (the book’s dream discovery of the Waygate is omitted in the show). Perrin’s heroism earns him the title “Goldeneyes.” The villagers reject the Whitecloaks’ attempts to seize Perrin, expelling the Justicar and his men. Perrin meets Faile, a “Hunter for the Horn” seeking the Horn of Valere. Faile is the daughter of Marshal Davram Bashere and cousin to the Queen of Saldaea. The two fall in love and marry quickly.

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.

Hot Milk

This is a story about a woman's growth through generational trauma, transitioning from a symbiotic mother-daughter relationship to the daughter’s eventual journey towards independence and selfhood. At the start of the film, the protagonist Sofia exhibits a numb, dazed, compliant, and repressed state while living under the same roof as her mother. As the film progresses, two key symbolic images emerge: 1. Sofia sinking into the water in her wheelchair—an image of suffocating sadness and helplessness. The wheelchair, which symbolizes their inability to stand on their own, becomes a metaphor for their lack of freedom. 2. The barking of a black dog in the summer—Sofia, from enduring this noise in silence, to finally picking up a knife and threatening the neighbor to release the dog, and ultimately seeing the dog run into the sea to swim. The black dog symbolizes Sofia's repressed anger, which is finally released through an explosive outburst. The daughter, in the prime of her youth, shows signs of wilting and retreating. This is deeply tied to her mother, Rose, who is confined to a wheelchair. Rose’s illness, her inability to stand or walk, is largely a physical manifestation of her psychological issues. This illness also symbolizes her inability to be independent, always needing Sofia’s care. Rose, sitting in the wheelchair and wallowing in self-pity, uses her pain to gain sympathy, manipulating Sofia into caring for her, though she may not be fully aware of or willing to admit it. During the doctor’s treatment, Rose repeatedly tries to change the subject, crying at times, unwilling to delve deeper into her issues. She is a mother who is difficult to please, constantly complaining and criticizing her daughter. After being separated from her mother at age 16, Rose's own childhood was lonely and deprived. She clearly views Sofia as the mother she longed for, subtly enjoying and exploiting her daughter’s care and attention—just as she repeatedly asks Sofia to fetch water for her to quench her thirst. Sofia's father left early, and Rose’s inability to receive affection and care from her partner further traps Sofia in a distorted mother-daughter dynamic. Sofia begins to dream of rescue, love, and freedom. In her fantasy, a beautiful young woman on a white horse appears by the sea—this woman, Ingrid, however, does not fulfill Sofia’s wishes. Ingrid not only lies incessantly and seeks attention by playing the victim, but also disappears without a word after becoming close to Sofia. She even has secret relationships with other men. Sofia feels anger and heartbreak upon realizing Ingrid is merely using her. What she longed for in Ingrid—genuine love—turns out to be irresponsible play, and the freedom she sought becomes a web of lies and promiscuity. Sofia finally understands that it was her deep wounds and dark voids that attracted these shifting demons. When Sofia sees the truth, her attitude toward Ingrid changes. She no longer tolerates and accommodates everything like a martyr. She no longer allows herself to be a doormat. This time, when Ingrid calls another man while standing before her, Sofia snatches the phone and throws it into the sea. She realizes that Ingrid is just a child who cannot offer love, only take it. The film also follows Sofia’s journey to find her biological father. After years of separation, Sofia’s father is now married with children, and she feels out of place in their small family. Yet, she still wears a soft yellow rose-patterned camisole and goes to the rooftop to talk with her father. When he notices the dark red embroidery on her shirt and asks what it means, Sofia responds that it’s her favorite "beliebe." Her father, however, comments that it’s actually "beknopf" (button). They argue briefly, and her father rushes off to answer a phone call, leaving Sofia alone. By now, Sofia’s longing for love, the essence of her relationships with her parents and her girlfriends, becomes clearer. She grows through her pain and disappointment, no longer passively waiting and accepting, but starting to reclaim control of her life. The two "trans" dance scenes in the film symbolize Sofia’s inner growth and transformation of power. *Hot Milk* represents an unattainable longing for love. Milk, the nurturing substance from the mother, is the most primal nourishment in life. The characters, mother and daughter, are intertwined in this longing, passed down from one generation to the next. The protagonist demonstrates strength and courage, breaking the curse of generational trauma and finding rebirth in despair. In the final scene, Sofia pushes Rose, who is sitting in a wheelchair, into the middle of the road. A large truck approaches without slowing down. Sofia doesn’t look back. At this moment, Rose must either stand up to survive or be struck by the truck. The film ends abruptly, leaving the audience with a big question: Will Rose stand up and escape?

I Don't Understand You

Overcompensating

There’s rarely a sense of vulnerability in a show that resonates so deeply — 20 years ago, on my first day at university, I was just as lost, just as unsure, and just as determined to mask my emotions. My roommate would talk about his high school ex-girlfriends, and I wouldn’t know how to respond—what could I possibly say? Should I admit I had a crush on a male classmate, only for him to call me a creep? Of course, I’m not the kind of high school star that the protagonist is. I don’t have his high, handsome, and athletic presence. If he were straight, he might be that typical frat boy vibe, but the writer gave him a different identity, one where he’s had to play another person since he was very young. It’s like a slow, glitchy virtual machine running in his brain. That virtual machine is called "I’m straight, I like girls." That’s his life, and it’s my life too. I fell for him because, just like me, when he sees someone he likes, his brain freezes, and he visibly flounders when talking about love. Logically, we should ignore our true feelings and act indifferent, pretending to be normal. When we see someone we like, we should immediately look away, lower our heads, and pretend to think about something else. Because, if you let your brain foolishly stare at someone you like, they’ll say: “You’re a creep.” That’s the protagonist’s vulnerability. He hasn’t yet turned into a slick, middle-aged man who tricks women into marriage. And I think, maybe, it’s the appearance of vulnerability and sadness that forms the bridge between people. In an instant, I intuitively empathized with his internal struggle, and none of us have the answers on how to escape it. Maybe the question itself is foolish. Maybe it’s just that we’re foolish, so we don’t have an answer. That’s why I’ve stayed single, now approaching forty, ready to quietly grow old and pass away alone. I’ll come alone, and I’ll go alone, not bothering anyone. You see, in 2025, in the most developed places in the world, a sincere and gentle person can only live cautiously. Even though there are so many fairy-tale stories on social networks of lovers finding their happy endings, the reality is, maybe most people will never exist in a fairy tale.

Adam

This Moroccan film *Adam* stands out as a rare gem in the Arab world for its focus on women’s stories. At its heart, it is a healing journey between two women—both abandoned or left without the protection of men. One is an unwed pregnant woman, the other a single mother. In a society shaped by Arab-Islamic patriarchy and religious traditions, life is especially difficult for women in such circumstances. Through their shared experiences and daily interactions, the two women begin to find meaning in life again. They offer each other a quiet, gentle light—a warmth born of empathy and kindness—that helps to heal the deep emotional wounds they carry. By the end, there is a sense that both will emerge stronger and more independent, with a deeper love and appreciation for their own lives.

Emily in Paris Season 3

Extreme self-absorption, only considering one's own thoughts, never considering the feelings or emotions of those around them, with no sensitivity or care for others. 1. Cheats with her best friend's boyfriend, showing no sense of guilt. After finding out about her best friend's affair, she suddenly becomes a "justice warrior" and feels the need to tell the boyfriend. Thankfully, Mindy is awake to reality. 2. The guy clearly shows interest in Mindy, but she acts like a naive fool, completely oblivious, and shamelessly makes a scene in front of everyone. A true friend would have been quietly observing and going to her best friend to figure out her feelings, planning whether to offer help or not. 3. Alfie's company is in trouble, and she has a solution, but instead of quietly telling her boyfriend so he can handle it, she chooses the most attention-grabbing way and directly goes to the boss, saying, "I heard about the issue with your factory." Seriously, she doesn't care if her boyfriend loses his job, leaking confidential business information could get him fired and banned in the industry. Yet, the writers have her save the day with a happy ending. Friends, no matter how smart you are, don't follow this example. 4. When a good friend just starts dating someone, she teams up to embarrass the guy without any consideration for her best friend's feelings. Later, she makes it seem like the boyfriend hurt her best friend and owes her an apology. The writers create this narrative where she is portrayed as the pure and innocent one, and everyone else is wronged by her. When Mindy goes through a breakup or struggles at work, she offers no empathy, just a light word of comfort before turning the conversation back to her own problems. In contrast, Mindy stands firmly by her friends, listens patiently, and offers advice. 5. When her boyfriend is leaving, she doesn't attend the farewell party, busy with work. I get it, writers, you want to portray her as a dedicated workaholic, naïve and careless. Well, comrades, let’s not have friends like her, lest we end up hurt and then be accused of being petty and calculating. 6. In a meeting with clients, she only talks about her own ideas, talking non-stop without caring about her colleagues’ feelings. Okay, you're talented, and you have ideas, but please, let people breathe in the workplace. Most of us ordinary people would be driven to quit if we had to work with someone like this “genius.” 7. At the wedding, after giving a speech, Alfie walks away in sadness. Instead of explaining or chasing after him, she sulks on the rooftop, feeling like the whole world has wronged her. When Gabriel shows up, the two share a moment of joy, as if all obstacles have been cleared, and they can finally be open about their relationship. Just lock it down, you two. The plot of "a naive, careless character who hurts everyone but is innocent and doesn't mean any harm" is disgusting. If you hold her accountable, then you are the one with the dark side. Finally, I hope everyone never has friends like this, partners like this, and never encounters colleagues like this in the workplace.

Emily in Paris Season 2

*Emily in Paris* is a "feel-good" series that’s easy to finish watching. The term "feel-good" refers to shows where everything goes as planned—life has enough ups and downs, so we look for a bit of fun and relaxation in our entertainment, just to lighten the mood. That’s all. Don’t think about the meaning of life or imagine becoming a character who effortlessly sails through everything. There aren’t many "feel-good" series done well, and even fewer that are both popular without being tacky. *Emily* incorporates many cultural differences between France and the U.S.—that is, everyone thinks these cultural differences are just like this, and so that’s how they portrayed them. From a years-old unwashed frying pan (a famous chef not washing his pan) to the French office culture, they are fully expressed, satisfying the public's imagination and making the plot plausible—unlike many Chinese dramas or TVB series that are completely off the mark, riddled with mistakes, making them unbearable to watch. A good film, then, is one that lies between ideals and real life. Can you post a few selfies on Instagram and have them reposted by Macron’s wife? Unlikely, but is it entirely impossible? Sometimes, with perfect timing and some luck, anything is possible. Another unique aspect of *Emily in Paris* is that it breaks away from the usual romantic tropes in films and TV shows. In this series, a London financial whiz (single, rich, and charming), a rising star chef in Paris (also a handsome young man), and the marketing manager of a famous store (elegant, middle-aged, and suave) all hopelessly fall for this American newcomer. She effortlessly befriends a socialite with a wine business and a family estate, as well as a daughter of a hidden Chinese billionaire who has fallen to Paris, and they become best friends. Emily flirts between men and women, enjoying herself without getting caught up, and ends up sleeping with the socialite's brother (helping him lose his virginity, and he, like a bewitched fool, falls for Emily), the young chef, and the financial whiz. After each encounter, she leaves with a flick of her hair, confidently walking away, living a fabulous life on her own. As the primary supporting character, Emily’s boss Sylvie left her husband in the small town and moved to Paris to develop her own career, becoming the queen of an advertising agency. She sleeps with clients and photographers, and yet, her husband still loves her hopelessly. In the last episode of season 2, she takes a large sum of money from a restaurant they jointly own. Her husband, flying in from afar, wants to have breakfast with her, but when he arrives, he’s greeted by Sylvie’s new lover, a young photographer, in nothing but his underwear. The poor husband, completely composed, turns around and heads to a café, handing over a suitcase of money and gently asking, “Are you going to divorce me now?” Sylvie casually replies, “Don’t be silly, we’re not getting divorced, why would we?” Her husband sighs in relief, content, and heads to catch his next flight. These scenarios are the types traditionally seen in films where men are the object of admiration (every woman, regardless of wealth or appearance, hopelessly falls for him, and the relationship becomes all-consuming). But in this series, all these tropes are reversed and placed on women. It’s a satisfying, empowering twist. Racial equality and gender equality are increasingly important in the cultural industry, but unfortunately, many films and shows just pander to these ideals with superficial gestures. *Emily in Paris* does it naturally. Not only do women take on the traditional male fantasy roles, but there are also several natural LGBTQ+ stories. One of Emily's colleagues is gay, and her boss has an affair with both a client and a photographer. These stories unfold in the fashion world, advertising, and the clothing design industry, and they feel completely natural, authentic, and unforced. The casting is impeccable. Emily is lively, charming, and clever. Sylvie exudes the irresistible charm of a mature woman. The French colleagues and American bosses are also fantastic. One of the characters that left a deep impression on me is Luc, an old-fashioned French man. On Emily’s birthday, he takes her for a picnic in a cemetery. He says, “I love Balzac's graveyard. I like thinking about life in front of his tombstone.” Luc also takes Emily to see *Zhou Fu’s "Zhu and Zhan"* (The *Zhu and Zhan* is a reference to *A Portrait of the Artist as a Young Man*). What’s even more delightful is that this episode specifically parodies the scene where the characters read letters in the film (*Emily says to Luc, "I thought it was a ghost...")*. This parody is so well done; the inside and outside of the story blend seamlessly, like a mischievous child’s prank. You won’t feel that Emily’s lack of understanding of *Zhou Fu* is offensive or shallow. When I first watched season 1, episode 1, I already noticed it was filled with the tired clichés of cultural stereotypes (such as how people look down on you behind your back, or how French people openly look down on you). But as the show progressed, it didn’t feel outdated. The screen was filled with handsome men and beautiful women, all with abs, impeccable clothes, elegant manners, and they often gazed at Emily with loving admiration as she talked endlessly (this is also a typical image of men in the past—talking at the dinner table while beautiful women admire them across from them). The women, on the other hand, are free-spirited (in season 2, Camille has gained a little weight but still looks charming), treating men as insignificant, valuing friendships above all. For the sake of sisterhood, men don't matter at all. Perhaps this delightful reversal is the most attractive part of the show, and I can't wait for season 3.

Emily in Paris Season 1

Yesterday, I received a message from my Parisian friend A, saying she had been watching *Emily in Paris* recently and that many of the plot points felt like a thing of the past. I was a bit confused about what she meant by "a thing of the past." Was she referring to the events in the show as being outdated, or was she implying that the events in the show, which happened to us, have already been a long time ago? Maybe she was being ambiguous, too? Actually, I was thinking of sending her a message as well because this show has brought up so many memories! Then, A mentioned that Paris doesn't feel like Paris anymore due to the severe COVID situation, with the second wave already hitting. A is a friend I met a few years ago in Paris. She’s a born-and-raised Parisian, although she spent several years of her childhood living abroad, including two years in Hong Kong. She is the most unpretentious Parisian I know—truly like Camille. Being around her feels like a breath of fresh air. A knows so many cool, secret venues in Paris, and her job is to find suitable locations for events and organize PR activities. Her father is a banker, so A, like Camille, is kind of a “rich kid,” though I’ve never heard her gossip about anyone. Many people say the show is unrealistic, particularly because Emily seems to have everything fall into place, and Mindy, the Chinese character, doesn’t exactly represent the real image of a rich Chinese second-generation. But after all, it's a comedy, and the exaggerated plot points are necessary for humor. It's clear that some of the scenes are over the top, but they don't stray far from reality, and they are truly hilarious—especially for those of us who have lived in Paris. I laughed so much throughout. Here are a few memorable points from the show: **Parisians vs. French people** If you ask a French person where they’re from, a Parisian will definitely say they are from Paris, while people from outside Paris will say they’re from France. Only those born in Paris are considered "true Parisians"—people born elsewhere and then moved to Paris don’t count as real Parisians (according to some French people). In the show, Emily's nerdy romance reflects this; the guy emphasizes being from Paris and looks down on the handsome guy from Normandy. Parisians really do consider people from outside Paris to be "country folk." I guess this happens in many big cities around the world. Then, there’s Paris proper and Île-de-France. People from the suburbs of Paris might say they’re from Paris, but when asked which arrondissement (Paris district) they live in, they’ll clarify they’re from the outskirts. When I met new people in Paris, they would always first ask which arrondissement I lived in, and that would determine how they judged me. So, which arrondissement is the best? There’s no "best," only different. People say that the 8th and 16th arrondissements are rich areas, but in my view, those are more for the nouveau riche—many foreign billionaires and newly-wealthy French prefer to buy properties near the Champs-Élysées or the Arc de Triomphe. The old-money folks tend to live in the 5th, 6th, and 7th arrondissements. I’ve been to a mansion in the 6th arrondissement that felt like a small castle with complex basements and wine cellars, located in a very quiet alley. When you walk out of the alley, the main street is filled with designer boutiques. Another friend of mine grew up in the 7th arrondissement, and he often says he used to live next to YSL when he was a child. The 7th is a somewhat pretentious area. The 13th has a lot of Chinese people, as well as many young professionals who’ve just moved to Paris. The 1st and 4th are touristy, with hotels and shops, while the 2nd and 3rd have many young artists and designers. The 17th and 18th have a lot of immigrants from the Middle East and Africa, and the area feels a bit chaotic. The 10th and 11th are full of young people and students. The 19th and 20th have many startups and affordable rent. I’ve lived in the 18th and 11th. My first apartment was a tiny place in the 18th, where the rent was twice as high as an equivalent in the 5th, 6th, or 7th arrondissements. Later, I moved to the 11th, which was just across the street from the 3rd, and the rent was much cheaper—what a great deal! Paris is small, you can cross it in two hours on foot. I basically walked everywhere, and it's always lively; the cafés stay open until 2 or 3 a.m. **"Tre"** I don't know why Americans tend to pronounce "trè" as "chrey." In French, it’s supposed to be pronounced t-r-e. It’s not that hard! Even I, coming from China, can pronounce it correctly, so why can't Americans? I realized that Americans simply don’t care to pronounce French in the French way—they even want to emphasize their American accent. Lily Collins probably doesn’t pronounce "trè" as t-r-e because the director told her to say "chrey." The director is clever because, in the global context, Americans are extremely confident, feeling that their American accent and American passport give them the privilege to do whatever they want worldwide. French-accented English is the way to show their superiority. **The "rich girl" trope** This show could actually be called *Three Rich Girls in Paris*. Camille is a perfect example of old money. These people grow up in fixed circles, and their parents and even grandparents have been part of that social scene. They tend to look down on outsiders because their behaviors and lifestyles are different. Old money people live comfortably but not excessively rich. Their ancestors were probably important figures in history, and they inherited land and titles. They look down on the nouveau riche—people like Bernard Arnault, the head of LVMH, would be seen as nouveau riche in their eyes. Camille’s family still has a château, which is unusual. Typically, nobles either marry other nobles or are with second-generation wealthy people. It’s rare for them to cross social classes, let alone invest in a restaurant like Gabriel's. **Chinese second-generation rich kids** Mindy’s character feels a bit unrealistic. A real Shanghai person, unless they’re extremely poor, would never work as a nanny in someone else’s home, let alone a rich second-generation. Even people from ordinary families wouldn’t work as nannies in Paris, let alone the second-generation wealthy. The show has created this "crazy rich Asian" character just to boost the drama. In LA, there are many Asian second-generation rich girls like Mindy, with their flashy outfits and makeup, club-hopping and popping champagne. These are mostly second-generation wealthy from Hong Kong, Taiwan, Singapore, and Korea. But it’s rare to find such characters born in mainland China. **The American Top 2%** While Emily’s background isn’t explicitly mentioned much in the show, it’s clear she’s not from a typical American middle-class family. Emily wears designer clothes from Chanel and Dior every day and exudes extreme confidence, suggesting she didn’t come from an average middle-class family. Middle-class kids simply don’t wear designer clothes at 20-something and are not that confident. Even though Emily seems modest, her low-key attitude hides her luxury lifestyle. Think about why Camille and Mindy, two rich second-generation girls, would approach Emily on the street. It’s because like attracts like—subconsciously, they feel they can connect because they are similar people. **Flirting in Europe** Europeans really know how to flirt, and the French are incredibly romantic. In Paris, couples are everywhere, and you’re constantly fed "dog food" on the streets (that is, constant public displays of affection). Being single in Paris might be the best or worst thing. When I first visited Paris, I met a handsome guy who showed me around the city, and many of the scenes in the show I’ve actually experienced, such as riding a scooter around Paris, seeing the night views, and picnicking along the Seine. I hope the second season explores more of these romantic experiences. In Europe, people flirt all the time, but most of them are just average-looking. Occasionally, a good-looking guy might flirt with you, but it’s unrealistic for Emily to only attract good-looking guys—after all, her middle name is "Mary Sue." Sometimes, when eating out, people sitting a few tables away will pass you a note with their phone number, often with a little sketch. French men are sweet-talkers. It’s common to be complimented on the street, in museums, or restaurants. They flatter you so much you could be eating honey every day. Once, a guy I was on a date with told me that my compliments felt too stiff, and I didn’t sound sweet enough. He taught me that French people always need to give specific examples when complimenting others, otherwise, it feels hollow. **French vs. American Marketing** This show is about an American marketing manager going to Paris to teach the French how to do social marketing. As we all know, France and the U.S. are two of the biggest marketing countries in the world. The American approach to marketing is practical and universal, focusing on things everyone can use, like Starbucks and McDonald’s—cheap and accessible. Meanwhile, French marketing is all about high-end and exclusive, targeting the rich who can afford luxury brands, while ordinary people just dream about them. Europe generally favors exclusivity and high-end, while Americans tend to go for mass appeal and populism. This creates an interesting contrast that can generate a lot of comedic moments in the show. **Other observations:** * Paris is full of dog poop. * The bread in Paris is absolutely delicious. * Emily inviting colleagues to lunch? It’s more common for the French to have lunch together than for Americans to do so. * French people really love movies and comics. * French people will give tourists confusing directions. In summary, I think the show is actually quite realistic. The unrealistic parts are mostly exaggerated for comedic effect. After all, it’s a comedy, and as long as it makes us laugh, it’s done its job. It's definitely one of the funniest comedies I’ve seen this year. PS: Is Pierre Cadault supposed to reference Pierre Cardin? And is Grey Space meant to refer to Off White?