The Greatest Movie of the Last Decade Is About A Stripper Getting His Groove Back

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When I watched the first Magic Mike movie, I wasn’t sure how a movie about male strippers could be so boring. A big fat empty promise of a movie.

Magic Mike XXL makes good on that promise by understanding that all we really want is a series of stripping set-pieces with maybe some sort of plot tied around it. Poor old Channing Tatum, it turns out his life is a terrible basis for a movie, and everything’s way better when they are freed of trying portray the gritty melodrama of drug addiction and legal trouble.

You don’t even really strictly need to have seen the first movie to enjoy Magic Mike XXL, the movie gives you all the context you need. Mike was formerly part of a crew but he’s living a strip-free life. He had a girlfriend who he proposed to (the girlfriend secured at the end of the first movie), but she turned him down. There were some other dudes (Matthew McConaughey and Alex Pettyfer), but they’ve ditched the crew to be….not in this film, leaving them a bit rudderless and ready for “one last ride”.

Apart from some visually enticing stripping set-pieces, why does this make my film of the decade? If you’ve had a look at my past film reviews, you’ll know I generally prefer movies centred around women (my films of the year for 2019? Probably Hustlers, Booksmart and Little Women, although Parasite was an outlier). At the very least, I’d like them to pass the Bechdel test, which this…does not. So what is it about this film? It presents such a vision of non-toxic masculinity and celebration of women’s sexual desire that I scarcely believe it was actually written by a man. And directed by a man?

How something manages to be simultaneously sweet and extremely blokey – see the quest of Big Dick Richie (Joe Manganiello) to find a woman who an handle his extremely large penis, and the delight of the gang when that woman turns out to be Andie Macdowell, who proves that Wine Moms deserve love too. Muted high fives and a muttered: “That beautiful nice lady was the glass slipper?”

The emotional vulnerability and support is a thread throughout the whole movie. They praise each other’s business success and entrepreneurial ideas (okay maybe not Richie’s ‘Condomints’, because it totally already exists). The friendship shown by the guys to Mike is what gets him out of his post-breakup funk (a lesson he tries to pass on to Amber Heard’s kinda-maybe-love-interest Zoe). They lift each other up, like when Richie is having a crisis of confidence about his role as a male entertainer and Mike tells him “You’re a Greek god, you could tie your shoe and make some girl’s year”. Honestly I know they’re all on molly but I still think this is one of greatest shows of male love and support I’ve seen on screen:

It’s also incredibly heartwarming to see the guys bond over their creative processes, both with each other and the folks they bring in to their orbit – drag queens, singers, and dancers. As the guys build towards their final acts embracing their ‘true selves’ and catering to what they actually think their audience wants to see (rather than the rote characters McConaughey’s Dallas roped them in to) they used their bond to support one another’s vision.

But my favourite thing about this film is how much these characters, and this movie, loves women. Firstly, it implicitly allows every female character to call the guys out on their bullshit. That includes’s Jada Pinkett Smith’s Rome, a former…flame….it’s a bit weird… who’s built an epic life for herself and doesn’t appreciate Mike wandering back in for help, and my queen Elizabeth Banks as Paris, who runs the stripper convention they are journeying towards throughout the film.

I’m just gonna chuck this clip in here because the way she says “You’re not special” is honestly one of my favourite things:

It takes a chance encounter a Rome’s…well, I’m gonna go right ahead and call it a pleasure palace…with Andre (Donald Glover), who comes up with songs on the spot based on a few details about a woman in the crowd to summarise what becomes a key theme of the movie – that when a woman is willing to open up and be vulnerable with you, and tell you what they want – that’s a beautiful thing. Something that is emphasised again when Andie MacDowells’s Nancy and the Wine Moms Crew complain about their marital problems and are lifted up by the guys.

Rome’s venue Domina is also one of the key parts of the movie that celebrates a woman’s desire – and more importantly, the desire of all women, not just pretty thin white women. I’m not going to pretend to be an expert in American racial politics, but seeing a venue without a white person in sight (…until Mike and the gang walk in), appreciating each other’s bodies is a beautiful thing. There’s an implication, I think, that Rome is extremely careful about who she lets through the doors to ensure everyone feels safe. And it’s a venue where women appreciate the beauty of the male body, rather than vice versa. I gotta say – and this is a ridiculous thing to say as someone who has taken their clothes off onstage twice in the last year – I am probably a bit of a prude, and the first time I saw this movie, the scene at Rome’s and the scene at the stripper convention were jarring. I had no idea if this is actually what goes on, or if it was being heightened for the movie. These days, I don’t care. Women celebrating their sexuality is a damn good thing.

The stripper convention once again emphasises that every single kind of woman gets to take part. Regular-ass women make up this crowd and have their fantasies catered too. I have never been more delighted, I think, to see a woman caressed to reveal the shorts she wears under her dress (we do it, gang, thigh chafing is real). No one is immune from being worshipped, and no-one is excluded from Rome addressing them as “Queen”.

That, in the end, is why I love this movie.

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(no but seriously who was the woman whispering in their ear when making this movie? Thank you, sincerely)

This is not a rom-com: Why the Four Weddings and a Funeral series is such a disappointment to fans of the film

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Edit: the below is based at the first four episodes, which at the time of writing I was under the impression was the whole miniseries. There’s now 5 episodes out and according to iMDB there’ll 10 all up (miniseries?). Although it’s clear I’m not really enjoying the show, I’m happy to catch up when it’s finished to see if my comments about pacing and character development still stand. I’m really glad ‘the end’ was not the end.

Edit the second: I finished it. It improved, but I still didn’t like it.

Well, look at the image above. We have to give them some points for vastly improving the diversity.

But was anything else an improvement? Four Weddings And A Funeral is probably not in my top 5 rom coms (if you’re wondering at the top 2 spots, it’s When Harry Met Sally and Bridget Jones’s Diary) but it’s certainly in the top 10. I love spending time with the characters, but the execrable acting from Andie MacDowell puts me off a little.

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*head explodes*

I’m just saying this movie put me off Andie MacDowell until she popped up in the greatest film of the last ten years, Magic Mike XXL, and I was given no choice but to stan.

Spoilers abound for the series below, btw.

So it turns out that Andie MacDowell provides our extremely tenuous link to the original film, as the mother of Rebecca Rittenhouse’s Ainsley.  We don’t discover this until episode 3, when she turns up to cut Ainsley off from the family money. This is all terrifically mysterious as quite recently in the diegesis Ainsley had a failed wedding, crossing over episode 1 in to episode 2, which apparently her parents decided….not to attend? It was quite a large wedding. It makes no sense. But nonetheless, there’s your connection.
(Note: Andie’s character is credited as “Mrs Howard” and not Carrie so….who knows, tbh. Given Carrie and Charles’s daughter is somewhat-canonically Lily James…)(also yes that clip confirms Carrie and Charles never got married so let’s just say it’s only a cameo and this entire thing is unlinked and they should have just named the whole show something else that would not invite comparison)

It turns out that, particularly when you only insert easily the most charm-less part of the film, it is incredibly difficult to recreate the charm of the first film. Yes, the movie is filled with toffs who we should probably not feel a lot of sympathy for because they’re pretty much all rich. However, they somehow manage to exude warmth, a genuine bond, and they all (Kristin Scott Thomas and Andie MacDowell – a literal model – excepted) sort of *look* like ordinary people – helped along by the fact that 1994 was simply not an extremely attractive time in our history as a people.

The show doesn’t help itself a long a whole bunch by centring around a bunch of beautiful Americans – going so far as to cast the wonderful…British… Nathalie Emmanuel as a Yank – who inexplicably all met in the UK for university and most of them ended up moving there. Leaving the show to be set in London, with a British supporting cast, but unavoidably American. The main cast can’t seem to nail the dry, self-deprecating humour that seems innately part of a British rom com (particularly one penned by Richard Curtis).

Nathalie particularly suffers, I believe, by the Four Weddings and Funeral project sharing a lot of key staff from The Mindy Project – most prominently Mindy herself but also producers, writers and directors. In the end, it feels like they’ve made Nathalie’s character Maya – in many ways, the main character of the series, the catalyst whose return to London sparks much of the plot – in to a Mindy-esque protagonist. Fast-talking, flawed, funny. But it isn’t until you notice it that you realise a lot of Mindy Kaling’s charm is extremely specific to herself.

It’s not helped that our first impression of Maya is her waking up in the bed of a married man. It’s hard to engender sympathy in me personally for a woman who’s either 30 or closing in to it, who definitely knows better and definitely knows he’s married, who is carrying out an affair. Nora Ephron just managed it in When Harry Met Sally, but….a) no-one on this writing staff is Nora Ephron and b) Marie was not one of the very main characters of When Harry Met Sally. It’s there in the name.

The miniseries format seems to have presented a challenge to these writers, very few of whom seem to have worked outside the weekly series format. They seem to want to have characters who are somewhat unlikeable to start out with (intense and jealous neighbour Gemma, rude and conducting-an-affair Maya, pining and insufferable writer Duffy) and bring us around to loving them. In a rom com film, you pretty much have to start out with having the characters you want the audience to like being likeable. In a series, you have the luxury of time to develop and endear. The pacing of this miniseries is off. Very few characters have coherent journeys, nor make the trip for unlikeable to likeable.

Let’s talk about Maya’s love life. Over the course of about 3 hours, she pines after her married boyfriend, dumps him when she realises he’s having an affair, sort of observes her best friend’s fiance Kash from afar while having the occasional flirty conversation about Mamma Mia! (which the show’s trailers want you to think is endgame, even though it would be messy), then suddenly at the end she’s kissing Duffy in the rain. Duffy spends the first bit of the series pining after Maya (who he’s had feelings for since uni), picks up with a fellow teacher at his school, and all of a sudden the end he’s dumped the teacher and is professing his love to Maya on her doorstep. Why did he dump her? We’ll never know, apart from the fact that she’s not Maya, which he’s always known. Apart from a few conversations about the death of her mother, there is almost no build-up on Maya’s side towards deciding she wants Duffy.

This is not a rom-com.

Do not buy that this show is a rom-com.

One of the best things the movie gave us was absolutely no romantic development between Fiona and Charles. Fiona wanted Charles, and we felt for her, but Charles didn’t see her that way. Even if we, as the audience, kind of thought they would be a great match, sometimes love is simply unrequited. Fiona let him know her feelings, and he treated her with honesty and kindness. It’s a more realistic portrayal of what sometimes happens between friends than grand gestures that first go unnoticed and then are suddenly reciprocated from nowhere.

Suffice to say, I did not ship it.

The only character who has a semi-sensible journey emotionally and takes the turn from unlikeable to likeable is Gemma, the extremely posh neighbour who has developed a (deeply possessive) friendship with Ainsley. Her jealousy is off the charts when Maya makes her return. I think we’re supposed to side with Maya, but all in all the female cattiness just comes off as distasteful all round, and Gemma presents as a caricature despite being part of the core cast. She barely develops in to a rounded character – with an emotional life outside the scope of her friendship with Ainsley – until her husband passes late in episode 3, with some of the best work in the series being her send-off to her husband and handling her son’s grief.

By the end of the series, we are left with a broken engagement, a death, a break-up, a secret child and an out-of-nowhere coupling which is only telegraphed by a seemingly unrequited pining. As such, it’s a struggle for such a show to recreate the warm fuzzy feeling you get when you finish a rom com. In fact, I finished it by yelling ‘WHERE THE FUCK DID THAT COME FROM’ at the telly.

Which might mean that the closest analogue is not a rom com, but a horror movie making a play for a sequel.

 

 

 

Why does The Bachelor casting skew so young?

A short bit of data nerdery today to support my main bugbear with The Bachelor casting.

Why in the world do they cast such young women?

Recently we were given the opportunity to learn about all 28 women cast to vie for Matt Agnew’s heart. Matt is 31 years old, by the way. What stuck out to me was how many bachelorettes have the number ‘2’ in front of their age.

Let’s pull out the numbers:

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There are in fact more bachelorettes under the age of 25 (7) than there are over the age of 30 (6). For a Bachelor who’s 31 years old. The average age is 27.4 or, if you’re one of those who prefer medians, it’s 26.5.

As much as we may claim that girls mature faster than boys, once you reach you’re thirties it’s pretty natural that you gravitate towards people in a similar stage of life as you.

This plays out in our Bachelors who have actually had successful relationships. Tim and Anna are the exception here, however. Lightning struck there with a 4-year age difference (out of curiously, I checked the average age of 30 year old Tim’s contestants and it was 27.9, which means they’re maybe moving further away from common sense).

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For the Bachelors we’ve actually come to like, coming on the show has generally been a reflection of a genuine desire to settle down (i.e the marriage and babies on this lot!)

Can we really presume that’s likely to happen when a bunch of fame-hungry folks in their early 20s are cast?

Drama is fun, but surely having several genuine possibilities to toss up between is even better?

If nothing else, it’d make the office sweeps more compelling.

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Not long now until we find out the extent of Channel 10’s lies when it comes to Matt Agnew and those glasses.

Likes does he just wear contacts, or does he have perfect 20/20 vision and this was solely a ruse to make him look like more of a nerd?

We’ll find out all this and the many more lies, manipulations and downright character assassinations production feeds us soon enough, but once again I won’t be recapping. I feel a bit weird writing about The Bachelor, because honestly? It inevitably ends up with me making fun of women, and I much prefer making fun of men.

Yes please go nuts on calling me a misandrist, at least my way of living life doesn’t end with me murdering those who reject me, so I still score one over misogynists.

I’ll be livetweeting over at vic_values in the meantime and I’ll reassess what the workload is like when The Bachelorette and Angie (who frankly I’d never heard of, but hey, clean slate!) rolls around.

 

 

Bachelor in Paradise 2019

Occasionally, I notice folks coming to binge-read my Bachie recaps, always a vaguely surprising event on my Stats page but nice nonetheless.

I wonder sometimes if they’re coming looking for more recent recaps. You might remember that last year I rage quit Bachelor in Paradise, abstained from Ali’s season because she was so irritating in BiP (she actually turned out to be pretty entertaining, and I enjoyed tweeting about her season) and also refused to recap Nick’s because he seemed like a drongo (a 100% correct assessment).

I had a bit of a think about whether I wanted to return to recapping that queer-baiting nonsense Bachelor in Paradise this year. I thought about how the Daily Mail had completely blown the possibility of an actual queer romance between Alex and Brooke with their pap pics on Alex’s return to Melbourne (I won’t spoil that, but if you want to Google ‘Alex Bachelor in Paradise park’ that’ll do all the spoiling you need). Nonetheless, BiP is still heavily leaning on the Brooke/Alex angle in their promos.

I thought about how the cast seemed to be stacked with mean girls from Nick’s  season and fuckboys from Ali’s. That I don’t care about whether 23-year-olds find love and don’t think they need a TV show to help them. That there was a random American and I literally watched his season of The Bachelorette and yet my mind only brought forth a blank. I summed up all my feelings when I looked at the cast photo:

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So anyway, I won’t be recapping Bachelor in Paradise this season. Keep an eye on my Twitter – I’ll livetweet when I have the opportunity.

As always, I highly recommend Jodi’s recaps at BookThingo. She’ll be doing BiP….sucker.

Why Lelaina in ‘Reality Bites’ was the worst love interest of them all

If you look at In Defense of Baroness Schraeder as my attempt at hyperbolic character rehab, this will be basically….the opposite of that. When I think back at my relationship with Reality Bites over the years, I tended to think of it in the form the exploding brain meme, but honestly the first step is so dumb that it didn’t even deserve to be represented by a brain. Instead, it’s more of an evolution:

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I should note that I come to this quintessentially Gen X film from the perspective of a Millennial. It wasn’t made for me. I’m at the age where, as a year older than Sally Albright and Bridget Jones, I’d be considered a rom-com spinster, but I don’t quite need to fork out for expensive face serums (The Ordinary all the way, baby). But I’ve returned to this film over and over, just like the – now v. v. problematic – 80s teen movies I ate up in my youth.

How do you know I’m a Millennial? Because I felt physical anxiety over how much the characters in this movie smoke. Why do you care about AIDS, Janeane Garofalo? You’re all going to die prematurely of lung cancer anyway.

Janeane Garofalo’s character of Vickie is the only likeable person in this movie, of course. I think maybe it wants us to slut-shame her? She has a notebook by her bed with a numbered list of her lover’s names. She’s scared of AIDs. But you know what? I bet Troy has no memory of where his dick has been, throwing out Renee Zellweger’s number in the morning, meanwhile Vicki tootles herself down to get checked at the free clinic when she decides she should, and if she ever gets pregnant, she’s got a handy list of names and dates. Sounds like being a sensible person, to me.
She is also the only person in the group who can hold down a job for five minutes, performing well enough at the GAP to be promoted to manager. Let’s contrast with garbage queen Lelaina. She seems to have taken an assistant job at a cheesy morning TV show for the sole purpose of getting them to air her vanity documentary about her friends, a true match of content and audience if I ever heard one. Instead of, y’know, actually assisting, she tries to get the host to get his own coffee and enacts petty revenge that makes him look like he’s admitting to pedophilia when he doesn’t want to air her navel-gazing doco. Unsurprisingly, she gets fired. And utterly spits in Vickie’s face when Vickie suggests she has an opening at the GAP. “I’m not gonna work at the Gap for Christ’s sake!”. $5 an hour seems like a lot more than the $0 an hour you currently have lined up, but okay, just diminish your friend’s job that she’s proud of then.

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Walking, talking trash raccoon Lelaina then:

  • Has three whole unsuccessful job interviews
  • Argues with her Mum that by no means should she have to look outside the journalism field for work (ha!)
  • Runs up a $400 phone bill talking to a psychic
  • Turns her spite on the people gently suggesting she might try getting her shit together
  • When he refuses her a loan, steals from her dad (who handed her a free car and a gas card paid for a year) to pay the bill. And for a few six-packs of Coca-Cola

Nice moral high ground there, GAP-hater.

Of course Troy, aka everyone’s boyfriend when they’re 20 and have been in the general vicinity of a shitty band or an Arts degree, is the one to comfort Lelaina in her time of feels. He’s been fired from 12 jobs! He then uses her emotional distress to try and hit on her.

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Of course this dude is so narcissistic he wants to make out with someone who has the same haircut as him.

Y’all need more than smokes, coffee and conversation. You need to pay your fucking rent.

To spoil the end of a 25-year-old movie, Reality Bites essentially posits that Lelaina forces him to be a bit more stable – with heavy attribution to his Dad’s death. I mean, the proof we have is he puts on a too-big suit and acts a bit humble for five seconds, so YMMV. I’m not sure what we’re meant to think Lelaina gets out of this, but whatever it is….she deserves it. Take a swim in that toxic masculinity lake for a while honey, you know you’ve been dying to. Ever since he told you “You can’t navigate me. I may do mean things, and I may hurt you, and I may run away without your permission, and you may hate me forever, and I know that scares the living shit outta you ’cause you know I’m the only real thing you got.”

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The medium step of this evolutionary tale is to think that Michael, played by Ben Stiller (also the director of the movie, thanks) is a much more preferable boyfriend. He sure is! He does fuck up a bit in the middle getting overly-enthusiastic about Lelaina’s work and forgetting to get, y’know, her permission to use her IP, and he doesn’t mind getting in to a verbal pissing contest with Troy, but in what universe does Lelaina deserve this guy?

  • They meet when she throws a lit cigarette in his car after cutting him off in traffic and laughing at him trying to do his job, which causes him to crash. THIS IS REASON ENOUGH.
  • She breaks his Doctor Zaius figurine!
  • She completely refuses to actually introduce him to her friends
  • She asks him if he’s religious approximately 30 seconds in to their first date, and then leaves him open to attacks on his intelligence from radioactive-slime-made-sentient-Troy, even though she describes the Big Gulp as the most profound invention of her lifetime (all the essential vitamins and nutrients! If Lelaina has given up smoking in the year 2019 she’s definitely still dealing with some Type 2 Diabetes)
  • She claims to Michael, who thinks her work would be a good fit for his channel, that she didn’t “want to think where it would end up” with regards to potentially commercialising her doco while she’s still making it, knowing full well she was still filming it while trying to get an airing on the morning show she was working on. Just admit you’re uncomfortable with emotional support because you’re used to being around Troy The Habitual Negger.
  • Lelaina drastically over-reacts when Michael’s TV production company takes the raw material of her dire-looking dropkick documentary and makes what looks like a thoroughly-entertaining, Real-World-style reality TV show with MTV flourishes. Nonetheless, it wasn’t finalised and could have been solved with a simple discussion, but after her storming out he soon apologises and does his best to fix it.
  • Too bad she’s already had a dose of Troy’s apparently very powerful peen
  • I like think in a couple of years, Vickie looks up Michael in the Yellow Pages. FUNCTIONAL ADULTS UNITE.

Over the years, Reality Bites has essentially become a hate-watch about a couple of dirtbags. You can’t root for the central romance, because Lelaina shows she is incapable of growth despite theoretically being the main character, and Troy is a chronic manipulator who you can tell smells like stale cigarettes and unwashed clothes just by looking at him. They’re impossible to like, and don’t even seem to like each other that much.
In conclusion, Reality Bites is basically Wuthering Heights, if Wuthering Heights had an awesome scene with Cathy, Heathcliff and their mates getting stoned off their gourd and dancing to My Sharona in a gas station.

An Incomplete Guide To Terrible Netflix Christmas Romances Pt 3

Look, if Netflix is going to persist with this, I’m going to keep hate-watching. Like, hate-watching while low-key loving. You can find the 2017 editions with gems like the o.g A Christmas Prince and Christmas Inheritance here and here. I’ve watched a few of the newbies over the last few weeks, and there might still be time for another edition before Christmas. Spoilers embraced this time.

Hope you like single Dads because Netflix is betting on them this year.

The Holiday Calendar
I watched this one right when it came out – at the start of November. Early November is too early for Christmas movies y’all. Particularly really bad ones. Let’s lay this one out – Kat Graham can sell you a lot of highly unlikely shit. Although her character Bonnie on The Vampire Diaries wasn’t wildly…joyful, she is super charming and all those years of basically shrugging off vampire/witch/werewolf shenanigans really did a lot for her ability to sell some wild concepts.

And you know what? She sold me on an Advent calendar that can somehow predict two versions of reality with one toy item a day. But she couldn’t sell me on a girl not choosing Ethan Peck. It’s pretty easy to see he’s The Wrong Man, given how late in the game he’s introduced (a full 20 minutes in to the movie) compared to all the time we’ve invested in loving stares from her male bestie who quite clearly wants to join her family to ensure continued access to her Mum’s cookies (not a euphemism).

But. Come on. That voice. I thought maybe it was just me but even my many friends who have not had the pleasure of watched Ethan play sexy broody fuckboy with a heart of gold Patrick Verona in the 10 Things I Hate About You show were convinced she’d made the wrong choice.

Never mind that the reason they break up was that he didn’t put a lot of faith in the rather out-there idea of a sentient Advent calendar, meanwhile the guy she ends up with not only loses her job for her, he also reacted to her Advent calendar theory by accusing her of being an alcoholic. So.

One last point of Sorry, I Can’t Buy This: as if any millennial who had a shot at it with absolutely no fucking training wouldn’t take a creatively unfulfilling office job where she had absolutely no chance of being fired, as opposed to a creatively unfulfilling casual job taking Christmas photos of pukey kids, while wearing an elf costume. SPARE ME KAT GRAHAM, go somewhere that’ll give you insurance.

Rating: 3/10, The ending was kinda cute but I can’t get over the terrible life choices.

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The Princess Switch

Ethan Peck given you a taste for hot single Dads? Well do I have the hot single baker Dad for you:

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Shockingly, Olivia is not played by Vanessa Hudgens.

Welcome, also, if you’re a Nashville viewer, to the uncanny valley of Sam Palladio speaking in his natural accent, which somehow sounds super fake?

What a great mash-up of genres this one is. A Parent Trap-style life swap and a royal romance? What more could you ask for, really? Oh yeah. CHRISTMAS. It’s got it all. Super-organised Chicago baker discovers the only person in the world with a bigger stick up their arse is the Prince of a small, probably European country (important question from Twitter: do you think Princess Switch‘s Belgravia and A Christmas Prince’s Aldovia have a voting bloc in Eurovision? I bet they both hate Montsaurai of Once Upon A Holiday, with its Dirtbag Princess Katie). He must learn the spiritual fulfilment of carriage rides and visiting orphanages which hang up mistletoe, a very normal thing to do in a workplace based on childcare. Meanwhile, a Duchess learns the pleasure of making out with a really hot single Dad who knows how to make cakes, and who only has one annoying family member (his cloying daughter) rather than an entire small country paying attention to him.

Anyway, my main problem with this movie is that it’s G-rated, and therefore when Kevin turns up in Margaret’s bedroom looking like THIS:

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She does not play any form of hide and seek with him.

A big ups to Netflix for refusing to buy any jewellery for these royal movies that doesn’t look like it comes from Lovisa (Americans: think Claire’s). This movie includes a corker:

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How many hot glue guns died in the making of that thing?

All in all, this movie is extremely silly and manages to pack in every cliche you could want, plus a baking competition. I can only imagine the environment in which it was written. I’m picturing a lot of eggnog and six seasons of GBBO on in the background.

Rating 9/10, deducting one point for not getting Kevin’s pyjamas pants off.

Christmas Wedding Planner

I’ve got two words for you: Charisma. Void.

That’s the only way I can describe the romantic hero in this movie, an extremely low-budget version of Michael Weatherly from NCIS. And he just kinda comes off like an arsehat? I read plenty of romance novel heroes with his personality type, but to translate it to the screen you really need to cast for charisma and chemistry with the heroine, because we have a lot of gaps to fill without the written word. And while the heroine does a bit of narration, she mostly uses it to yell “I am a fierce warrior”, a quirk disturbingly reminiscent of Anastasia Steele’s inner goddess. I’m not particularly surprised to find out this one is based on a Harlequin novel.

So, what’s Kelsey’s job? You may think it’s to plan Christmas Weddings, an extremely niche market if I ever saw one. Bloody millennials. In fact, she’s never planned a damn wedding before her cousin’s, and yikes. She needs to….make some interventions.

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Girl if you don’t think that’s gonna date your wedding, think about how it’s already dated this movie.

This is an extremely dumb movie with a heroine who on first appearance seems kinda charming but eventually just becomes so quirky it’s annoying. You know. The Zooey Deschanel effect. I’ve got a theory though. She’s so odd because she’s dealing with the fact that a ribbon is keeping her head on.

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Aesthetically, it’s a fascinating movie. Kelly Rutherford (what are you doing here? There’s actually good soaps out there to pay your bills!) is a sort of generically-rich aunt, and it’s just close enough to Lily Van Der Woodsen that it really shows that this movie….does not know how wealthy people dress. For example, not a lot of grown-ass women sitting around their homes in tiny lid fascinators and diamanté headbands, Lovisa strikes again.

The worst accessorising choice of all happens when Emily rips the ribbon from her cousin Kelsey’s neck for her wedding bouquet. A truly tragic end.

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Jk the biggest tragedy of this movie is (SPOILER ALERT), Kelsey decides to marry a Charisma Void she’s known for about a week on the spot.

Rating: 4/10, added one point for the heroine’s fabulous lipstick game.

A Christmas Prince: The Royal Wedding

I, known A Christmas Prince hater, am back on my bullshit.

Because I hated this one too. It’s the only one of this bunch I abandoned so frequently that I was able to plan a trip to Sri Lanka and become obsessed with Ariana Grande in the three hours it took to watch it (I’m not joking, my screencaps have timestamps). If you can’t even sustain me on sheer bonkers trash, then that’s a sad indictment of your trash movie. There were some highlights, however.

Amber continues to be a truly atrocious note-taker and also journalist:

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Her Undercover Outfit? Literally Sunglasses At Night and the outfit she was heavily photographed entering the country in like, a week ago.

I really didn’t expect this movie to have a prominent plotline about The Power of Unions. I was truly disappointed that it turned out to be some good old-fashioned corruption and the end of the movie didn’t end with Aldovia turning in to a Socialist Republic. Maybe next time?

The plotline about press freedom didn’t hold a lot of water either. Did Amber end up keeping her blog that should have absolutely been killed about twelve months before the events of this movie?

We learned that the royal family attached Go Pros to the end of their toboggans:

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And that Amber, one of the most awkward people on the whole planet, was raised by one of Life’s Huggers:

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Amber cannot be trusted with a Hot Glue Gun:

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Great question, I thought I’d managed to travel in to this fictional universe to burn it.

Wisely, someone ripped off the Gryffindor ribbons before Emily made it to stage. Everyone on this stage is a scab btw, as the concert had been cancelled due to worker’s strikes.

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The workers! United! Will never be defeated!

We learned Richard can’t decorate for shit and Amber is a ginormous liar.

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Richard has also taken to referring to himself in the third person, so it’s kinda hard to be Team Richard in this movie. Read some Karl Marx, dickhead.

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This kid….has a boner. I’m sorry but he does. Blame Netflix.

50 Shades of School Play

Clearly, the greatest job on this production was to create the outlandish initial sketch for Amber’s wedding dress. I was very disappointed not to see the Cone of Shame at her first fitting.

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Everyone involved in this movie should have to wear one tbh.

And finally, Lovisa have got their claws in to another one:

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Golly, Aldovia’s budget really is in crisis.

Rating: 3/10, same as the first one.