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Space Force Review – Netflix, We Have a Problem.

Space Force/ Netflix

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Netflix’s highly anticipated series Space Force tries to be a lot of different things. Unfortunately, it spreads itself too thin. It’s easy to see what the program is trying to do, but when all set and done, Space Force doesn’t do much of anything. Heralded by The Office and Parks and Recreation co-creator Greg Daniels and leading comedian Steve Carrell, inspiration and intent are evident. Still, the star-studded cast and style appear plucked from past projects and thrown together haphazardly. The new series lacks cohesion, not too unlike the administration this series serves to mock.

Space Force follows recently promoted General Mark Naird. As Naird receives his promotion, his hopes are high to repace his workplace adversary, the General of the Air Force. Instead, to both of their dismay, Naird is put in charge of the United States Space Force. The organization moves to its own branch instead of remaining under the purview of the Air Force. It’s definitely not what Naird worked his entire career to achieve.

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Naird seems like the type to dislike the administration, implied heavily to be Trumpian in nature. The President remains an off-screen character, however, only referred to by his title. At the same time, Naird behaves dramatically; a behavior expected more of someone who believes in that version of America. The contrast doesn’t quite work for the character. Naird feels disdain for the President, all the while going to extreme lengths to satisfy him. However, this may not be too uncommon with the current state of American politics. The lengths he goes to complete the Space Force mission and hit their goals in a timely fashion is consistent. However, the characterization is still a tough one to swallow. Whether it’s because we’re not used to Carrell playing a character with this mindset, or whether it’s too fresh of an observed situation among politicians is arguable.

The timing of the release doesn’t serve the show well. Space Force attempts to provide commentary and a satirical look at the state of American politics, but muddles the message. As the current state of American politics is messy, and perhaps frightening, the current administration is still in power. As recent societal altering events such as the Covid-19 crisis and the nationwide protests against systematic racism rage on, one has to wonder if Space Force was perhaps released too early. This isn’t the show’s fault. It was created and promoted well before these events began to shape the current American climate. Still, I couldn’t help but feel slightly uncomfortable watching this show satirically comment on contemporary politics in a silly manner, all the while the complicit actions of the American government continue to escalate dangerous conditions for average Americans.

The creators of Space Force took a risk in its early release, which isn’t always a sound idea. Sometimes, there needs to be a more extended passage of time between current events and the fictionalization of these events. Delaying the production of this show could have served the concept better and even opened up more opportunities for satire without exposing a fresh wound for many.

Poking fun at American politics isn’t the only goal the show tries to achieve. Space Force also attempts to incorporate a family-drama aspect. Relocating the Naird family from Washington to Colorado has a multitude of effects on the family. These range from the expected struggle for Naird’s daughter of trying to fit in, to lesser expected consequences, such as Naird’s wife, Maggie, landing in prison for decades for a crime that hasn’t yet revealed itself.

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While a stark contrast from the political aspects of the show, Erin adds layers to Mark that is essential for him to be more than a one-dimensional character. Watching him attempt to balance being a single father (in a way) and his obligations to Space Force deepens Naird’s conflicts. While Carrell’s roles in other projects such as The Office endears viewers occasionally with his care for his employees, Naird is colder to his subordinates in Space Force. His relationship with his daughter brings out the better parts of him. And it’s his family relationships that form the basis for his emotional struggle with being open and allowing himself to acknowledge his stress and emotion in the fourth episode, LUNAR HABITAT.

Sidenote: When viewing the show on Netflix, the episode titles are stylized as short statements in all capital letters, an obvious play on the nature of Trump’s tweets, which was a detail I appreciated.

When it comes down to it, Space Force’s problems boil down to its lack of identity. It doesn’t know what type of show it wants to be. The comedy is inconsistent – sometimes it’s outlandish, sometimes it’s deadpan, occasionally intellectual, and occasionally crude, but most of the time, the jokes don’t land.

But sometimes, they do.

My favorite episode of the season is the second one, SAVE EPSILON 6!, which focuses on The Space Force team attempting to save their satellite launch with animals sent (and abandoned) in space after Chinese forces sabotaged their launch. The comedy in this is outlandish and ridiculous. However, the special effects and animal gags make it the most enjoyable episode of the first season.

Another noteworthy moment is when Captain Angela butchers her first words upon landing on the moon, which was a critical moment as she is the first Black woman to step on the celestial body. Attempting to say, “It’s good to be back on the moon,” she suffers a Freudian slip, replacing the word ‘back’ with ‘Black.’ Being one of the few moments that elicited a physical response from me, the build-up to this slip was well-executed.

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Angela also ends up being one of the more endearing characters in Space Force, even though the show wasn’t sure what to do with her. They pair Angela up with Erin for a good portion of the beginning of the season, then send her to space in the back-half of the season. Presumably, this will be to anchor the Moon-based arc if the show obtains renewal. However, this leaves Erin in a much more isolated state if the show is to return for subsequent seasons.

Most of the time, however, the jokes don’t hit. When watching, I was aware of what was supposed to be funny, but my brain didn’t register the jokes as humourous. Without the strong cast, Space Force would have fallen entirely flat. The strength of the cast isn’t just limited to the most prolific actors. Well-known, John Malkovich’s presence as the less-nonsense scientist serves as the sane-man insert. He provides an anchoring perspective that makes the insanity of Space Force’s circumstances easier to digest. Jimmy Yang as Dr. Kaifang unexpectedly provided my favorite comedic presence. Known for Silicon Valley, I wasn’t familiar with this actor going into Space Force. However, his deadpan delivery lands as the best humor of the cast.

Steve Carrell has a commanding presence that is hard to balance. Space Force did its best to balance him out, but many times did not succeed. With too many variances of comedic style, the lack of cohesion left me wondering: what is the point of the humor?

And, with this issue of erratic choices in the development of the show, I found it hard to see the heart of Space Force, save a few endearing moments between Naird and his daughter, and Naird and Dr. Mallory, which arguably is necessary for a comedy like this to resonate with viewers. Other similar shows have a certain charm or heartwarming quality, but as mentioned before, Space Force’s is few and far between.

Picking aspects and dynamics that have worked in other recent acclaimed comedies isn’t always a recipe for success. The inspiration is clear, but for a show like Space Force to succeed, there needs to be a more evident intention. Things happen, not for progression or commentary, but for the sake of happening. Having Ben Schwartz as the social media manager of the military branch is a great idea. However, somehow, they underutilized Schwartz, which is a crime considering how beloved his roles are on other shows.

Space Force’s humor isn’t the only aspect lacking identity. The overall genre seems inconsistent, as well. Sometimes a dramedy, sometimes a workplace comedy, sometimes a family drama, these different storytelling elements don’t always mesh together. The show even takes a stab at space tropes, launching humans to the moon. However, adding in this new aspect doesn’t elevate Space Force in any way. Instead, it just adds another cluttered element to the recipe for season one. Space Force feels empty even though so much goes on.

But don’t give up hope yet. Despite the issues outlined, with outstanding effects and a talented cast, maybe Space Force just hasn’t found its footing yet. Space Force is doing well with viewership, so expect another season to come. Many similar comedies take time to find their rhythm. The Office and Parks and Recreation both took time to grow into their own, so it’s not out of the realm of possibility that Space Force could vastly improve on its style, writing, and execution upon subsequent seasons. However, the binge format could hinder this, leaving the sour taste in viewers’ mouths for a year or more. And who knows what actual events could have transpired by then to effect opinion and viewership?

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All in all, Space Force has strong elements, a talented cast, and a solid foundation for future improvement. Still, it struggles to decide on a direction to lead the narrative. Left as a chaotic combination of things that should work, Space Force doesn’t quite work. Despite this, I wouldn’t recommend against watching Space Force. You will get some laughs. And it’s not a massive undertaking with only ten episodes averaging around half an hour long. After all, television seems to be on hold for a while, thanks to workplace restrictions due to the Covid-19 pandemic. So, there’s not much to lose, but not a whole lot to gain either. I do think Space Force has the potential to grow into something much better, but currently, it doesn’t live up to Greg Daniels’s legacy.

All episodes of Space Force are now streaming on Netflix.


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Amanda Reimer is a fresh Angeleno, growing up in Texas and currently residing in LA. Assistant by day, stage manager by night, she writes in between. You can catch her watching sci-fis, procedurals, or perhaps, entrenching in a science documentary. She is also a cat mom to her calico, Kiki.

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Inventing Anna Series Premiere Review – Who the Hell Is Anna Delvey? (1×01)

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Inventing Anna Series Premiere Review Episode 1 Life of a VIP

From the creative mind of Shonda Rhimes comes Inventing Anna.

It’s the story of Anna Delvey that you’ve likely heard before, but with Shondaland’s exclusive twist on it.

Delvey, real name Anna Sorokin, was a faux socialite who scammed New York’s high society, including hotels, banks, Wall Street, and elite friends.

The Russian immigrant posed as a German heiress in an attempt to steal millions of dollars from the wealthy. 

But despite having Sorokin’s name in the title, the first episode of the Netflix limited series hinges heavily on Vivian Kent, the ambitious journalist who landed the tell-all interview with Delvey. 

Anna Chlumsky (who you might remember from the ’90s My Girl fame) is a powerhouse in the role as she sets her sights on Delvey/Sorokin (played by Ozark’s Julia Garner) in order to revive her career. 

Inventing Anna Series Premiere Review Episode 1 Life of a VIP

Inventing Anna. Anna Chlumsky as Vivian Kent in episode 103 of Inventing Anna. Cr. David Giesbrecht/Netflix © 2021

Kent has been banished to “Scriberia,” a corner of the office where she’s convinced journalists go to die. After coming upon Delvey’s upcoming trial, she sniffs out a case and tries to convince her bosses — Paul and Landon — to cover the story. 

Unfortunately, neither of them seemed particularly moved by her spiel as they insist she covers the women of Wall Street’s #MeToo plight. 

Kent, however, doesn’t feel compelled to bully these women into telling their stories for clickbait and pursues the Delvey story instead. 

The more she digs, the less she knows. 

Delvey is an enigma who seemingly crafted many personas while schmoozing with New York’s upper echelon. 

Eventually, Kent is able to convince the editor of The Manhattan (the show’s New York magazine) to let her roll with the story. 

It’s unclear why her editor, Paul, has it out for her, but the series seems to purposefully leave Kent’s background vague throughout the episode. 

All we know is that something went wrong, a little boy was involved, Google will remember it forever (the internet never forgets), and that’s she’s desperate to revive her career, a feat she hopes to accomplish before she has her baby girl. When she realizes that it might not be possible, she has an entire breakdown at the gynecologist’s office during the ultrasound, which, as a woman trying to juggle a career and motherhood, is all too relatable. 

And then — she gets the absolute motivation to convince Delvey to reject the plea deal being offered and fight for her reputation as well. 

In an intense meeting where Kent levels with Delvey, she convinces her that she deserves to have her story told. 

But that’s not what ultimately persuades Delvey. As a journalist, you want something from your subject, but in order to get it, you also have to know what your subject wants. So, in exchange for her story, Kent promises Delvey the one thing she wants more than anything: fame.

After all, Delvey herself claims that the persona she made up is a “masterpiece, bitches,” while the friends she conned note that she was a “legend” and “icon.”

In that pivotal scene, it seems as though Kent has fully tapped into why Delvey concocted her scheme in the first place. While she claims to be a businesswoman who wanted to secure a loan for an exclusive club she wanted to open up, Delvey was obsessed with the high life; the exclusivity of being an “it” girl.

Kent tapped into the vein fueling Delvey’s motivations this whole time — even from the depths of Rikers. 

While the series is based on a true story, it’s definitely not an accurate depiction of what really happened, but that’s neither here nor there because the episode is wildly entertaining and keeps you hanging on to every single delusion Delvey divulges. 

Much of Kent’s background — even if vague at times — is presented, while there’s just enough of Garner’s Delvey, with her intense accent, to hook you into coming back for more. 

Though neither would admit it, Delvey and Kent have one thing in common — the need to prove themselves, which makes this profile something that’s in both of their best interests.

Inventing Anna Series Premiere Review Episode 1 Life of a VIP

Inventing Anna. Julia Garner as Anna Delvery in episode 104 of Inventing Anna. Cr. Nicole Rivelli/Netflix © 2021

And it’s even in the interest of Delvey’s lawyer, Todd, who also wants to prove himself as an ADA. 

Todd, played by Arian Moayed, is definitely battling some insecurity issues. He even tells his wife, a powerful attorney working at her father’s firm, that he feels inferior to many of their friends. He may be defending the world’s biggest con artist, but somehow, he’s the one feeling like a fraud while Delvey remains adamant she’s not the criminal they are painting her out to be. 

At times, you almost feel for Delvey and start to believe her story, only to realize that her act is one big manipulation tactic. It also becomes harder to empathize with her when she calls Kent out for looking “very poor” and “very, very fat.” However, those moments paint a vivid photo of the kind of things Delvey prioritized, even while spending time in one of the most dangerous prisons. 

All of this likely proves that Garner has nailed the role of the woman who was able to manipulate some of the smartest people in the city. 

Of course, while much of the back-and-forth dance happens between Kent and Delvey, there’s an incredible supporting cast. 

Todd faces off assistant DA Catherine McCaw played by Westworld’s Rebecca Henderson. 

Rhimes takes care of her own as Scandal’s Katie Lowes and Jeff Perry; Lowes plays ex-Vanity Fair picture researcher and Delvey’s bestie Rachel DeLoache Williams, while Perry is Kent’s fellow journalist.

The Bold Type’s Alexis Floyd as Neff, an employee at the hotel Delvey stayed at who assists Kent with her story, while Orange Is the New Black’s Laverne Cox will appear as celebrity fitness trainer Kacy Duke.

Inventing Anna has all the makings of a Rhimes hit series, so strap in for the ride because from the looks of it, Delvey is just getting started as we take a peak behind the curtain to figure out what exactly led up to this very prison meeting. 

And we can’t wait to see where Garner takes this role as the trial ramps up, which leaves all of NYC’s finest quaking in their boots.

After all, did you ever imagine that Ruth would become the moral heartbeat of Ozark?!


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‘The Woman In the House’ – Everything You Need to Know About Kristen Bell’s New Thriller

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Everything we know About Kristen Bell's upcoming comedy thriller The Woman in the House Across the Street from the Girl in the Window

Kristen Bell is known for her comedic chops, but she’s dabbling a new genre come 2022.

“The Good Place” actress will star as Anna in a dark comedy thriller on Netflix. 

Here’s everything we know about the upcoming series “The Woman in the House Across the Street from the Girl in the Window.”

 

What’s It About?

The series focuses on the heartbroken lead who lives everyday the same way — staring out her window and watching life pass her by while she sips her wine. 

All of that is flipped upside down when her handsome neighbor moves in across the street and she witnesses a murder… or does she? Does someone want her to forget? Did she imagine it? Are they the hallucinations?

We’re already totally invested. 

 

Is there a Trailer?

YES! Glad you asked. The teaser is intoxicating and shows exactly why Bell was the right choice for the role!

Check it out below: 

 

Who Else Is in the Series?

Well, there’s Bell. Other cast members include: Michael Ealy, Tom Riley, Mary Holland, Cameron Britton, Samsara Yett, Christina Anthony, and Benjamin Levy Aguilar. 

 
How Long is the Series?
 
The season consists of eight, 30-minute episodes. You know what that means? They’re easily binge-able with your glass of wine! 
 
 
Why Does It Sound So Familiar?
 
It parodies Amy Adams’ thriller “The Woman in the Window” and the 2016 film “The Girl on the Train.”
 
 

When Does It Premiere?

The show hits Netflix on Friday, Jan. 28, 2022!

 

Is There Going to be a Second Season?

While it’s crafted as a limited-series that doesn’t necessarily mean that a second season is out of the question. After all, Big Little Lies was also a limited-series. Never say never!

 


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WATCH: Christmas is Here Early With a Trailer for ‘The Princess Switch 3’

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Princess Switch 3 Trailer Released

Oops… she’s doing it again!

The holiday season isn’t complete without Vanessa Hudgens, who is back once again for The Princess Switch 3.

Netflix has released the official trailer and from the looks of it, it’s going to be filled with comedy, romance, and yes, three different accents and voices all performed by the talented actress.

Check out the trailer below.

Hudgens is once again reprising her roles as Queen Margaret and Princess Stacy, with a new addition Fiona, the cousin.

After the special guest, the Vatican’s Star of Peace is stolen, the two royal lookalikes need to team up together to steal it back. In order to do so, they enlist the help of their cousin Fiona who is also identical to them. The three completely different personalities work together to safely bring back the missing treasure.

Alongside Hudgens, the cast includes Sam Palladio, Remy Hii, Nick Sagar, and Will Kemp.

Netflix will release The Princess Switch 3 on November 18th, so set your calendars!

Recap the The Princess Switch: Switched Again right here

Yes, That Is Queen Amber from ‘A Christmas Prince’ in ‘The Princess Switch: Switched Again’


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