The Chronicle A&E Netflix heads in heartfelt direction with new film
B4•September 11, 2018
By Eleni Kothesakis SPECIAL TO THE CHRONICLE
The release of the Netflix original movie “To All the Boys I’ve Loved Before” on Friday, Aug. 17 produced an uproar and following unparalleled by any romantic comedy in the past decade. To be clear, the recent movies based on books by John Green do not count as rom-coms, they’re simply young-adult romance movies with extremely sad endings. “To All the Boys I’ve Loved Before” is a far departure from any movie relating to teens that has been released recently, and it is far from anything Netflix has ever done before 2018. Netflix, as a streaming device, has broadened its horizons beyond their typical original movie and television series. “To All the Boys I’ve Loved Before” is only one of many catalysts that will launch Netflix into this new realm of rom-coms, which will therefore broaden their audience and demographics. Movies like “The Kissing Booth” and “Set It Up,” which were both released a few months
prior to “To All the Boys I’ve Loved Before,” laid the foundations for this shift in the demographic that Netflix had primarily catered to before. Instead of producing more movies or TV shows similar to “Black Mirror” or “Ozark,” Netflix has been creating originals that tug on our heartstrings while still relating to the modern young adult. With these additions, no longer do these young adults need to reflect on dated yet classic films, such as “Sixteen Candles” or “Pretty in Pink.” “To All the Boys I’ve Loved Before” follows the principle character, Lara Jean Covey, as she tries to get over her most recent crush, who also happens to be her sister’s most recent ex-boyfriend, by pretending to date her enemy’s ex-boyfriend, Peter Kavinsky. This snowball effect gradually pulls Lara Jean out of a fantasy world that she created for herself. It all began because of five secret letters she had written to her crushes that were mailed without her knowledge.
“To All the Boys I’ve Loved Before” is a fresh new take on what it means to be a teenager at a time when social media controls our every move. Lara Jean, portrayed by Lana Candor, emphasizes the need in the film and television industry for better representation. With the exception of the movie “Crazy Courtesy of Netflix Rich Asians” and the “To All the Boys I’ve Loved Before” stars Lana Condor, a 21-year-old American actress show “Fresh Off the of Vietnamese descent. Boat,” there have not Noah Centineo’s character, Peter acclaimed original rom-coms, it been many productions that focus Kavinsky. He helped Lara Jean can be expected that more movies solely on an Asian family. Lara get out of the cocoon that she was that express the same values as Jean’s Korean heritage is what living in, and he constantly proved “To All the Boys I’ve Loved Beconnects her and her story beyond that all other rom-com male leads fore” will become the norm. There this romantic point of view; this are trash in comparison. It is no will be better representation and a emphasis on her heritage highwonder that since the release of stronger portrayal of women and lights the love and loss that she the movie, the name Noah Centia kinder portrayal of men. This is feels in her life as well as the imneo has been circulating throughonly the beginning of a new era portance of her relationship with out social media and thousands of for Netflix. her family. people are wishing for their own What the movie does that has Peter Kavinsky. seldom been seen in rom-coms is As Netflix progresses toward feature a legitimately nice guy in producing more of these widely
Everybody could use a little ‘Sweetener’
Property of Republic Records The album is Grande’s fourth studio album, featuring Pharrell Williams, Nicki Minaj and Missy Elliott.
By Genesis Ibarra STAFF WRITER
From the first-day-at-my-dreamjob encouragement of “successful” to the elevator-music-that-playswhen-the-love-of-my-life-walksin optimism of “pete davidson,” Ariana Grande’s new album “Sweetener” has it all. Opener “raindrops (an angel cried)” showcases Grande’s vocals
by means of an empowered ballad. It’s the type of song that a choir could sing at a significant ceremony. Pharrell Williams’ nostalgic 90s production adds a dreamlike state that carries throughout the album, especially during “blazed,” where his and Grande’s intertwined voices are like Peter Pan and Tinker Bell soaring through the skies. “the light is coming” reminds us
that Nicki Minaj and Grande are a pop duo. Minaj’s feature in this experimental track suggests that the main point of the album is not about spilling truth, or “tea.” It’s about overcoming hardship and coming out on top. Grande puts listeners to sleep with her Neverland-esque vocals in “R.E.M,” only to wake everyone up with “God is a woman,” a feminist anthem from producer
Ilya Salmanzadeh. She takes us to church with her impressive range, gospel harmonizing and powerful a cappella (The live karaoke version of “GIAW” with late-night host James Corden wins her the title of “Voice of our Generation.” Sis, chills). “When life deals us cards, make everything taste like it is salt / Then you come through like the sweetener you are to bring the bitter taste to a halt,” Grande sings. Sixth track “sweetener” is an upbeat, candy-shop bop: the sprinkles on Grande’s ice cream sundae of an album. Listeners find relatable content in “everytime,” with Grande singing, “I get drunk, pretend that I’m over it. / Self-destruct, show up like an idiot. / Why, oh why does God keep bringing me back to you?” It’s an R&B mix about going back to the one you love, no matter how toxic the path. Mental health is another heavy topic that Grande dives into. On “breathin,” she covers what anxiety attacks and depersonalization feel like and how the love of her life helps her deal with them: “Some days, things just take way
too much of my energy / I look up and the whole room’s spinning / You take my cares away / I can so overcomplicate, people tell me to medicate.” Grande’s own mental health took a toll after the tragic 2017 bombing at her concert in Manchester, England. “no tears left to cry,” the album’s first single, talks about surviving this heartbreak and getting back up after being torn apart. Grande may be the most powerful and relatable pop queen of the moment. “Unfollow fear and just say, ‘you are blocked,’” she sings. Her lyrics are often words and phrases used by millennials. When we ordered a powerful message easily understood by our generation, she delivered. It’s as if she’s hugging fans during “get well soon,” while explaining that “there’s ups and downs and there’s drops / ... just know there is so much room at the top.” Grande climbed to new heights with her fourth studio album, and boy, the view is spectacular.