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Amie Mandy
Never in my wildest dreams did I expect to feel sympathy for a super wealthy, beautiful, straight, white man. And yet, here I am, sobbing for Idiot TV Host Dexter Mayhew from One Day. This Netflix drama series, which is based on the novel of the same name, managed to humanize my least favorite demographic and destroy me in the process. Like, how am I supposed to just go about my life after that ending? I invested valuable time, energy, and tears into these characters for almost two whole days only to experience devastation and denial.
I have a problem with art that imitates life so well, it leaves us with the message that there is no WINNING. It punches you in the gut and reminds you that even when you think you might win, you will lose. And that is my main problem with Seven Seconds, a drama offered up by Netflix, and created by Veena Sud.
I LITERALLY slammed a stack of books down onto my living room floor end of last episode. I hated the cops, I hated the wives, hated the defense attorney. It was like rubbing salt and then sprinkling lemon on a fresh wound. Regina saves the day as always but I was praying for a better ending.
This was actually filmed in my neighborhood right outside my building and I saw some of the scenes being filmed. I was excited to watch the series when I heard it was finally going to premier. But while watching and especially after completing it, I was disappointed in the ending. It left me feeling empty after all of the buildup.
I see your point and I disagree. Our stories are real and need to be told. Fairy tale endings where positive results are rarely achieved are already present in the lexicon. Although, difficult to watch I felt authenticity every moment (even rarer). From not-quite-right hair to not enough character development, I was drawn in.
The part that had me the MOST pissed was when she lost the racial bias argument. When the white female lawyer RIPPED her argument to shreds. I mean, did it have to be that brutal?! I threw a shoe at the TV.
Very on point. I expected the outcome, so I had to stop myself from exhaling and saying whew! and/or from getting excited about little victories. I would have been insulted if the cops had gotten their just dues because it would have turned this series into a fairy tale.
One of the proudest moments of my life was as a young lawyer in a majority law firm when the OJ verdict was announced. Everybody was shocked. I ran to my office and called my girl and we both talked about how that Johnnie Cochran was amazing!!! I learned then the importance of being a top notch lawyer and I see sistas doing that everyday.
By making KJ such a screw-up, the whole point of the movie (the flawed justice system) is lost. It made for a good story (they assumed) but she (and our cause) once again became the joke. As usual, we were playing checkers while everyone else was playing chess. I love Regina King but not even she could make me sit through this fiasco again.
Next time the directors should talk to Shonda about portraying black women lawyers who may be flawed personally but know how to handle their business professionally. That was an embarrassment to me and my girls who bring it day in and day out to give us a fighting chance! Directors, do better next time when you attempt to tell our story.
For anyone who saw Alice Wu's The Half Of It pop up on their Netflix account and brushed it off as another formulaic teen romcom, I have to encourage you to give it a shot. While it does work with some familiar genre techniques and formulas, they're being used to bolster an exploration of some very relatable, complex themes and ideas. If you're still on the fence about whether or not to watch, hopefully my review will sway you so that you can read the following discussion on the ending of the movie. Here's your one and only spoiler warning! This article contains spoilers for the ending of The Half Of It.
If you're still with me, you're well aware that The Half Of It didn't give you any easy answers. Perhaps you were rooting for Ellie (Leah Lewis) and Paul (Daniel Diemer) to get together, or maybe you wanted Ellie and Aster (Alexxis Lemire) to live happily ever after; neither happened. Paul makes his move, but Ellie isn't interested in him like that and while Ellie does eventually build up the nerve to kiss Aster, then she immediately leaves Squahamish to attend Grinnell College.
While chatting with Wu, she was kind enough to indulge me and answer a few spoiler questions so I asked if she was ever concerned about not giving viewers the thing they might have been rooting for the entire movie, in this particular case, seeing two characters get together.
Let's say you're rooting for Paul and Ellie to be together in the end and then when they're not, you walk away disappointed. How do you make sure that sinks in in a way where you're satisfied with a story that doesn't follow the formula that you're used to and you also learn something in the process?
I'm Thinking of Ending Things (stylized as i'm thinking of ending things) is a 2020 American surrealist psychological thriller[1] film written and directed by Charlie Kaufman. It is an adaptation of the 2016 novel of the same name by Iain Reid. The plot follows a young woman (Jessie Buckley) who goes on a trip with her boyfriend (Jesse Plemons) to meet his parents (Toni Collette and David Thewlis). Throughout the film, the main narrative is intercut with footage of a school janitor (Guy Boyd) going to work, with both stories intersecting by the third act.
I'm Thinking of Ending Things was released in select theaters on August 28, 2020, and on Netflix on September 4, 2020. It received positive reviews from critics, who praised the two lead performances and the cinematography.
Throughout the film, the main narrative is intercut with footage of an elderly janitor working at a high school, including scenes in which he sees students rehearsing Oklahoma! and watches a romantic comedy film.
A young woman (whose occupation and name change throughout) contemplates ending her relationship with her boyfriend Jake while on a trip to meet his parents at their farm. During the drive, Jake attempts to recite a poem he read when he was younger, "Ode: Intimations of Immortality", and asks her to recite an original poem of hers to pass time. After she recites a morbid poem about coming home,[a] they arrive at the farmhouse. Jake takes her to the barn, where he recounts a story about the farm's pigs being eaten alive by maggots.
Upon entering the farmhouse, the woman notices scratches on the basement door. At dinner, she shows Jake's parents photographs of her landscape paintings and says she met Jake at a trivia night in a bar, with narrative inconsistencies. Later, she notices a childhood picture of Jake, but becomes confused after initially recognizing the child as herself. She receives a call from a friend with a female name, and a mysterious male voice explains that there is "one question to answer". Over the course of the night, Jake's parents transform into their younger and older selves, though nobody comments on this. When the woman takes a nightgown down to the basement to wash, she discovers several janitor uniforms in the washing machine and finds posters for Ralph Albert Blakelock exhibitions that have images of paintings seemingly identical to her own. She receives another call from the same mysterious voice.
On the drive home, Jake refers to several events that evening which the woman does not remember and then claims she drank a lot of wine. Word association leads to an extended critical discussion of John Cassavetes' A Woman Under the Influence.[b] The couple stops at Tulsey Town, a drive-through ice cream stand, whose employees are students at the janitor's school. When the woman is leaving, an employee with a rash says they are scared for her.
Jake stops at his high school to throw the ice-cream cups away. After a heated argument in the parking lot about the lyrics of "Baby, It's Cold Outside", they share a kiss. Jake has a flashback of the janitor watching them from inside the school and decides to confront him, leaving the woman alone in the car. Eventually, she decides to look for Jake inside the school. She meets the janitor and asks him where Jake is, but she cannot remember what Jake looks like. She tells the janitor that nothing happened between Jake and her on the night they met, instead claiming Jake made her uncomfortable by staring at her.
Having finished his shift, the janitor enters his car, but does not start the motor. He experiences hallucinations of Jake's parents arguing and animated Tulsey Town commercials. The janitor then undresses and reenters the school, led by the hallucination of a maggot-infested pig who tells him that "someone has to be the pig infested with maggots", that "everything is the same, when you look close enough", and that he should get dressed.
On an auditorium stage, an old Jake receives a Nobel Prize[d] and sings "Lonely Room"[3] from Oklahoma! to an audience of people from his life, all of them in theatrical old-age makeup, who give him a standing ovation. The emotional Jake stands there to gaze upon the audience for an uncomfortably long time as the scene fades into solid blue.
In the final scene, the solid blue fades into a shot of the school parking lot the next morning, where the couple's car is absent, while the janitor's truck is still parked and now covered in snow.[4] Towards the end of the credits, scraping sounds emanate from the engine of an approaching snowplow.
It was announced in January 2018 that Charlie Kaufman was adapting Iain Reid's novel I'm Thinking of Ending Things for Netflix, as well as directing.[8] In December, Brie Larson and Jesse Plemons were cast in the film.[9][10] In March 2019, Jessie Buckley, Toni Collette and David Thewlis joined the cast, with Buckley replacing Larson.[11]
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