Streaming – MARISSA MONTICOLO

IN A WORLD FULL OF CONTENT, DON’T OVERLOOK FOREIGN PRODUCTIONS (IRISH EDITION)

You’re a teenager. You live in a small town where news travels at the speed of sound. No one gets you. Everything is an absolute crisis or total disaster and to be honest, you’re a bit of an asshole. That’s Netflix new Channel 4 Irish import Derry Girls. Set against the backdrop of Northern Ireland in the early ‘90s during the Troubles comes the tale of four female misfits from Derry (“or Londonderry, depending on your persuasion”) as they start a new term at Our Lady Immaculate College. There is self-absorbed Erin (Saoirse-Monica Jackson), her quirky cousin Orla (Louisa Harland), the group resident narc, Clare (Nicola Coughlan, Harlots) and feisty troublemaker Michelle (Jamie-Lee O’Donnell). Trailing along with them as a human punching bag for Irish discontent is Michelle’s cousin James (Dylan Llewellyn) who “unfortunately, happens to be English” and the first ever boy to study at the college.

The series pilot starts with a narration and juxtaposition of imagery as The Cranberries song Dreams appropriately begins to play – “My name is Erin Quinn. I’m 16 years old, and I come from a place called Derry.” An armed military vehicle cruises atop a road overlooking the town, driving past as a group of boys graffiti the welcome sign. As we continue on towards the center of the town with a series of overhead shots and additional narration, we see sprawling landscape and a group of young girls dressed all in white before cutting to the military vehicle in front of a large mural portraying a man in a gas mask. A nearby sign reads, “YOU ARE NOW ENTERING FREE DERRY.” All serve to inform the viewer that although there is turmoil happening at the time we enter this world, life still goes on – especially for Erin Quinn’s wonderfully insane family and group of friends (one of whom is narrating the opening by reading Erin’s stolen diary).

Saoirse-Monica Jackson and Louisa Harland in Derry Girls

Irritated that her daughter and niece might not make it to their first day of school because the Derry barricade has been bombed, Erin’s mother Mary (Tara Lynne O’Neill) begins to lose her cool. “I’ve had a whole summer of it, Gerry. She’s melting my head!” In an act of love and comfort, Erin’s father Gerry suggests to his wife, “their bus can take the long way around.” And so it will – without any fear or apprehension after one final argument about Erin’s school uniform, a denim jacket, and individuality as Mary’s father Joe (who despises his son-in-law), her flighty sister Sarah, and Sarah’s kooky daughter Orla look on. In defeat, the girls head for the bus. Along the way we meet Clare (currently fasting to raise money for an Ethiopian boy and faced with temptation), and Michelle (who has adopted the new phrase “motherfuckers!” as a greeting after seeing a movie with “the disco dancer from Look Who’s Talking”). Then there is James – our “wee English fella” who is surprised to learn (as Michelle mouths off his identity) that the reason he’s British is because his mother went to England to abort him and changed her mind.

Written and created by Lisa McGee, this part autobiographical series based on her life growing up blue collar in Derry provides tons of situational comedy where the smallest of issues become magnified in futile attempts for the girls (and sometimes their parents) to resolve them – all the while, efforts to attack local infrastructure due to political and religious conflict surround the characters and the town. According to McGee who spoke on a panel this past year at the Edinburgh TV Festival, while she loved My So Called Life growing up, nothing she ever watched rang true to the experience McGee and her friends had in the Northern Ireland she knew. In fact, up until recent years there hadn’t even been an appetite in the UK for regional programming like Derry Girls which left some apprehension on the part of McGee and EP Liz Lewin (The End of the F***ing World) in launching a potentially divisive show with four female leads in what had been mainly male-driven content. But their commitment to adding flawed female characters to UK programming paid off. Not every woman needs to be strong and perfect. Quite honestly, we’re lucky to get these crass and vulgar ladies.

Family Dinner: Ma Mary (Tara Lynne O’Neill), Da Gerry (Tommy Tiernan), Granda Joe (Ian McElhinney), Orla (Louisa Harland), Erin (Saoirse-Monica Jackson) and Aunt Sarah (Kathy Kiera Clarke

What makes this show compelling are not only the characters you’ve possibly known some version of in your youth, but also the town and its inhabitants shared dark sense of humor as survivors and underdogs (I’m looking at you, Sister Michael). Performances are truly incredible with sharp and witty dialogue delivered impeccably by a group comprised mainly of new comers who shine. All are bound to add more to their list of credits after starring in Derry Girls. Lacking self-awareness and being awkward is part of being a teenager and the group of twenty and thirty year olds playing sixteen give their all – especially Nicola Coughlan as Clare whose constant exasperation and anxiety can be felt through the screen. If you can’t keep up with accents and often quickfire exchanges, put your closed captioning on. Not only will you absorb new lingo, but you’ll digest even more of the comedy in this six episode series has to offer – where a failed attempt at bullying, thievery from a chip shop, lying about an apparition, and offending a Ukrainian refugee displaced by Chernobyl lead to big laughs.

Fueled in popularity by the universal teenage storyline and portrayal of a working class family, Derry Girls is reportedly the largest launch Channel 4 has seen since 2004 and has already been picked up for a second season.

With an average running time of 23 minutes per episode, you’ll binge watch this and beg for more. Derry Girls streams now on Netflix and guys, I love it.

Sorry For Your Loss – Proving you should not discount Facebook Watch as home for exemplary long form content

Sorry for Your Loss – Proving you should not discount Facebook Watch as home for exemplary long form content

I am admittedly not someone who actively checks Facebook these days. Unlike my college years, I don’t feel the need to stay logged in as photos of friends babies, what people from my hometown ate for dinner and political rants grace my feed while the right hand rail fills up with shoes I’ve looked at on Nordstrom and are stalking me. But lately, I’ve been summoned back by the promise of new weekly long form content distributed on Facebook Watch – more specifically, the Elizabeth Olsen half hour drama Sorry for Your Loss.

As my declared Favorite Olsen™, when I saw “Lizzie” would be starring as a widow who tragically loses her husband at a young age, my interest was piqued. Since emerging on to the scene in 2011’s Martha Marcy May Marlene, Olsen has given some truly stellar performances, positioning herself as an actress with the ability to cross genres. When you combine her presence with the chance to finally see Kelly Marie Tran (Star Wars: The Last Jedi) in a meatier role as Olsen’s addict sister going through her own journey? I’m in. And guess what? Despite my aversion to Facebook, if this series is any indication – we’re going to have to start paying attention to this new distributor.

Elizabeth Olsen, Kelly Marie Tran, and Janet McTeer in Sorry for Your Loss

Leigh Shaw is in mourning and completely numb. Its been three months since her husband Matt (Mamoudou Athie) has suddenly passed away. Unable to enter the home she shared with him, Leigh has been living with her single and very spiritual mother, Amy (Janet McTeer) and recovering addict sister, Jules (Tran) – all three working together at their family owned Pure Barre-esque studio, Beautiful Beast. As the story begins to unfold and Leigh continues to process her loss both in grief group (which she would prefer to not attend but there are donuts) and on her own, we see her life in snippets through cleverly inserted flashbacks – Leigh’s memories which provide us with an understanding of Matt, their relationship as a couple, and his position in their family.

“I hate how in the beginning everyone wants to send you flowers and donate to a foundation for your dead person. And then they stop calling and writing and doing nice things for you because they’re over it – and they expect you to be over it.”

As Leigh looks back on life with her husband, signs are revealed that Matt kept a part of his life private. A secret stash of weed in a boot, a credit card hidden in the freezer, a phone locked she doesn’t know the pass code to, a game played among friends that allude to Matt being a good liar. In putting the pieces together, she isn’t sure whether or not she knew him at all. But while Matt’s death sets Leigh on a course to unravel mysteries he’s left behind, in episode five our story takes a turn and suddenly, we see Matt’s point of view from the same moments Leigh has recalled. It’s only then we fully recognize his internal struggles and fears and understand Matt’s life with a level of clarity we don’t get entirely from Leigh’s perspective.

It’s important to mention that while the show focuses on Leigh, it’s not all about grieving and mourning. It’s about living and reclaiming your life. We see how the death of one person transforms relationships with other members of the family as well as friends — how death becomes a reflection on your own mortality leading to decisions to become sober, to get married, to pull the trigger on building a larger business, to making amends with loved ones or in some cases, not be ready to forgive.

“My sister’s in free-fall and she just needs some time to turn everything right-side up again.”

With an amazing DIVERSE cast and strong writing from first time showrunner Kit Steinkellner (Z: The Beginning of Everything), Sorry for Your Loss delivers truly memorable performances from not only Olsen (who should and likely will be recognized for this role, in my opinion), but Tran. I found myself consistently rooting for her as a reformed party girl trying to stay on the straight and narrow in the shadow of her sisters grief.

Elizabeth Olsen in Sorry for Your Loss

I do my best not to judge a series by its pilot – sometimes, it just takes an episode or two for a show to find its groove. But, I can honestly say this was a pilot I enjoyed and a series I’ve welcomed each week. If you’ve experienced loss or grief, this show will resonate. If you’re fortunate enough to have not yet experienced losing a loved one, Sorry for Your Loss is as insightful as it is beautiful, handling a multitude of difficult subjects with great care and thought. Stick with it.

While the series could have easily been a Netflix or HULU original or even a NEON, Annapurna, or A24 distributed indie given the quality of story, directing, and the cast, I think it’s time we look at Facebook Watch as a potentially formidable opponent to streaming services if they continue to acquire series like this. My only gripe? Currently, no app available to stream on your television. My hope is moving forward when more buzzed about content is available, this becomes a priority for the social media giant. If they want to play with big dogs Netflix, Hulu, Amazon, and the yet-to-be-named Disney streaming service, they’d do right by consumers and make it easily accessible across devices.

With two new episodes slated to drop each Tuesday, the first six episodes of Sorry for Your Loss are now available to stream on Facebook Watch. Check it out.

Only losers hang out with losers – and I want to hang out with Sierra Burgess

Sierra Burgess (Shannon Purser) wants to go to Stanford. The would-be legacy daughter of a famous author (Succession star Alan Ruck) thinks she’s a shoe-in. With an almost perfect SAT score, straight A’s, and participation in all of the normal “nerdy” extra-curricular activities, it would seem she’s correct – until a visit to her high school guidance counselor (Mary Pat Gleason) throws her off her game posing the question, “what are you – other than a legacy student? What’s your sell? Sierra Burgess is…” In the world of high school, Sierra Burgess is a loser – picked on for all the typical reasons but possessing an unflinching ability to resist bullying from a trio of mean girls (Kristine Froseth, Giorgia Whigham and Alice Lee). Having seen shades of this story before in television and cinema, as the audience we know Sierra is anything but a loser.

With determination to bolster her high school resume, Sierra’s life takes a turn when at a diner over an actual plate of lettuce, Veronica (Froseth) – head cheerleader, school bully, and object of everyone’s affection is approached by the handsome and charming school quarterback, Jamey (new heartthrob we stan for, Noah Centineo). But despite his boyish good looks, charisma, and overall nice guy demeanor, Veronica only has eyes for college boy Spence who will obviously be a disappointing asshole. In delicious rom-com fashion, Veronica decides to give Jamey the number of loser Sierra instead of her own, leaving Sierra to take on the biggest challenge she’s had thus far – talking to a hot guy – under the pretenses she’s someone else.

Giorgia Whigham, Kristine Froseth and Alice Lee in Sierra Burgess is a Loser

After we spend time with this character and her best guy friend Dan (RJ Cyler), it comes as no surprise she’s down for the task. But as their texting relationship progresses and Jayme begins to send selfies, Sierra will need reinforcements from the girl Jamye thinks she is – her bully, Veronica. In a ballsy move, Sierra approaches Veronica and confronts her over using her phone number to give to random guys before convincing her they each have what the other needs. As Sierra teams up with Veronica to make her seem smarter and win the affections of Spence while learning via a budding friendship that she’s actually pretty awesome, Veronica’s ultra-cool exterior is diminished and with all villains, the true reason as to why she’s the high school bitch is revealed.

Shannon Purser and Kristine Froseth in Sierra Burgess is a Loser

Here’s what I love about Sierra Burgess is a Loser and why to me, it’s not just another teen movie – Purser’s Sierra is strong, self-aware, and completely in control. Taught self-respect by her over supportive mother (Lea Thompson) and father who provide her with cringe-worthy daily acronyms for purposes of motivation, their well-meaning love takes her far – but not without consequence. Sierra is, after all, a teenager trying to please them while feeling the pressures of not looking like her newfound counterpart. She participates in band and debate team. She excels in academics. And in a refreshing twist, she doesn’t need anyone to save her. In fact, our fair heroine starts off the film being bullied in her English class and tells her teacher (who barks back at two mean spirited comments), “thank you, but I don’t need you to fight my battles for me.” It’s not a film fueled by revenge – it’s about coming-of-age in a world where social media is king and young girls are being bombarded with pretty pictures of who they think they should be as well as the notion that smart isn’t sexy.

This film has heart. A great soundtrack. And Shannon Purser in another vintage VW (I see you, Netflix). Watch it.

Stream Sierra Burgers is a Loser on Netflix starting today.

In a world full of content, don’t overlook foreign productions (Australia Edition)

It’s Wednesday night after a holiday weekend. You’ve made it through your version of a Monday and Tuesday with Friday a mere 2 days away. You turn on a streaming service and get lost in the platform. After 10 minutes of indecisive scrolling based on algorithms that allege to know you, you give up and decide to fall asleep to an old episode of something you’ve seen before. You’re not alone. This is entertainment in 2018 and with new platforms emerging frequently and more content available than ever before, allow me to help you on your quest to stream the good stuff that perhaps you’re not being recommended.

Fire up your Roku, Apple TV, or player of choice and get down with these two Australian imports – streaming now on Netflix.

Sisters

Billed as an Australian drama, Sisters (which aired late last year on Network Ten) stars talented actress Maria Angelico as the lovable Julia Bechly, only child of renowned Melbourne fertility scientist and Nobel Prize winner Julius Bechly (Barry Otto). On his deathbed, Julius has his daughter unknowingly submit an op ed in which he confesses he supplemented his own sperm in place of many infertile fathers, resulting in the births of potentially more than one hundred children during his thirty year career – and this is just the first 5 minutes of the pilot. Over the course of 7 episodes secrets are exposed, lies are told — there are betrayals of trust, and one very intense addiction to pain medication.

Imagine you had a family you didn’t know about…

Antonia Prebble, Lucy Durack, and Maria Angelico in Sisters

While the series takes time introducing us to would-be brothers and sisters as well as parents, spouses and love interests, at its core, Sisters focus is on three genetically related females with entirely different lives – each grappling with not only their newfound identity, but their own issues that are becoming more apparent as a result of being a “Bechly Baby.” Julia (Angelico), who has spent her 20’s hiding behind the needs of others and ignoring her own – enough to sabotage a past relationship in heartbreaking fashion, Roxy (Lucy Durack), troubled star of the children’s show Farmyard Frank whose growth and development has been stunted by an overbearing mother and an all too supportive father – one of whom hides a dark secret, and Edie, a class-action lawyer with her marriage to co-worker (Dan Spielman) on the rocks who also has a sordid past with Julia.

“This is about the story of who we are and where we belong…” – Julia

Lucy Durack, and Maria Angelico in Sisters

Fueled by outstanding performances and a great soundtrack, Sisters is a touching yet funny series that feels raw, honest, and sincere – grounded in the reality of being a human. Created by Imogen Banks (prolific producer heading up drama at Endemol Shine Australia) and Jonathan Gavin (award winning Australian play-wright), there has yet to be an indication as to whether the show will be renewed for a sophomore season by Network Ten but there is A LOT more story to tell – not only with our leads but with Edie’s husband (guys, I stan for Tim). Be prepared to fall in love with these flawed characters and go on an emotional journey as they find not only each other, but themselves.

The Letdown

From creators Sarah Scheller and Alison Bell (who also stars as lead character Audrey), The Letdown is what I imagine to be an all too realistic look at the first year of motherhood. Over the six-part half hour series, we see Audrey trying to find the balance between being a new parent, partner to a work-stressed boyfriend (Duncan Fellows), daughter to an often insensitive and eccentric mother (Sarah Peirse), and friend to childless adults while trying like hell not to allow motherhood to define who she is as a woman.

While attending the ~~mothers~~ parents group she swears she doesn’t need but inevitably leans into, we hear Ambrose, the group leader explain, “You’re not number one anymore. There’s no point winging about what you’ve lost – your muscle-tone, sleep, freedom. It’s looking still at what you’ve gained – rounder bones, stretch marks, acne, hemorrhoids, and a small, helpless child. This is motherhood. You’re all in this together.” Welcome to The Letdown, Scheller and Bell’s play on words referring to both the reflex that causes a release of milk from breasts and also, the realization that no one bothered to tell you just how hard this whole parenting thing was going to be.

Having a new baby is a mother of a job…

Allison Bell in The Letdown

While the series revolves around Audrey, we get a glimpse into the lives of her parents group who are fighting their own battles while easing into parenthood – Ruben (Leon Ford), a man who would rather be a stay at home dad then return to work, his work obsessed wife, Ester (Sacha Horlerand), who would prefer he be employed. There is also Martha (Leah Vandenberg), a woman who lives her life in fear that her sperm donor (who leaves pre-made meals on her doorstop) may take custody of her son, and Sophie (Lucy Durack), the unicorn of the group who has carefully crafted a narrative and an Instagram feed that to the naked eye, would indicate her life is perfect.

“If you keep looking back, the only thing you’ll think about is what you’ve lost.” – Ambrose

Exploring topics of anxiety, mom shaming, sleep training, “in-laws” who know better, lack of mental stimulation, loneliness, and mommy brain, The Letdown is anything but. It’s a heartwarming and unflinching ride into the parenthood you’ve either personally experienced or your closest friends have told you about – but don’t let the accuracy of its depiction stop you from climbing aboard. Part of a 2016 Comedy Showroom on ABC Australia for potential pilots, it received a full order with Netflix on board as its distributor. While the series premiered in 2017 in Australia and in April of 2018 here in the states, there has yet to be an indication of a season 2 coming anytime soon. Still, it’s worthy of a binge for its charming cast and the way it handles the delicacy of life after baby.

Tag: Streaming