The Breakup (2006)

For when you’re still in the breakup phase.

Breakups are excruciating. The longer you’re together, the longer the breakup lasts. Anyone who’s taken a year to finally end it understands. In this classic, Jennifer Aniston and Vince Vaughn call it quits slowly and with lots of fights. If you need that last little kick to finally say “enough,” this ought to do it. Watch The Break-Up on Prime Video.

How to be Single (2016)

For when you need a little help from your friends.

Sometimes it takes our friends to finally say “enough is enough” and pull us out of our tear-stained stupors. For Dakota Johnson’s character, it feels far too soon to be spending a night out in New York City, but it’s just what she needed. They teach her how to be single (and you, too). Let your annoying friends win and you’ll be one giant step closer to being over this breakup. Watch How to Be Single on Hulu.

The Wedding Singer (1998)

For when you hope for better things in your future.

No wallowing for you. You want to believe that you could find someone so much better in the near future. That’s what happens after Adam Sandler’s character gets unceremoniously dumped by his vapid girlfriend on the day of their would-be wedding. He meets sweet Drew Barrymore, and all bets are off. Watch The Wedding Singer on Max.

My Best Friend’s Wedding (1997)

For when you can’t handle a happy ending.

If you can’t have a happy ending, then why should anyone else, right? When Julia Roberts finds out that her old best friend is getting married, she gets a spike of jealousy and decides to attend the wedding with the sole purpose of breaking them up. This is the rare occasion when Miss Roberts plays the bad guy. Watch My Best Friend’s Wedding on Starz.

Second Act (2018)

For when you need a big change.

Breakups often come with the worry that you’ll never find anyone again–that you’ll be stuck in this bad place forever. If you have doom and gloom for your future, watch Jennifer Lopez start fresh by leaving her grocery store job and becoming a success in the business world. It’s never too late to have the life you’ve always wanted. Watch Second Act on Hulu.

Someone Great (2019)

For when you and your ex will always love each other.

Some breakups are heartbreaking not because you feel betrayed, but because the person really was the love of your life. Even though Gina Rodriguez and her boyfriend still love and respect each other, their relationship can’t go on. As her friends help her deal with the fallout, consider them your friends, too. Watch Someone Great on Netflix. 

Eternal Sunshine of the Spotless Mind (2004)

For when you just want to forget.

It can hurt so much to look back on the relationship after it’s over. It manifests as this deep, physical pain. Wouldn’t it be better if you didn’t have to feel it at all? What if you could actually wipe all memories of them from your mind? That’s what this classic answers when Jim Carrey and Kate Winslet break up. Watch Eternal Sunshine of the Spotless Mind on Starz.

The Witches of Eastwick (1987)

For when all you can think about is revenge.

There’s nothing quite as powerful as a woman scorned. Unless it’s three women. Who are witches. In this dark and spooky classic, Cher, Susan Sarandon, and Michelle Pfeiffer all fall for the same guy–a Satanic Jack Nicholson. But when he betrays all of them, they’re left with some serious skills for vengeance. Watch The Witches of Eastwick on Max.

While the movie begins with a lighthearted tone and energetic zest, everything changes when Corrine is diagnosed with Cancer, and Jane becomes her loving caretaker. In a movie that pays homage to Beaches with a contemporary spin — even featuring the Divine Miss M in a supporting role — it goes without saying that the waterworks come flooding down every now and again. So, here are the most heartbreaking moments from the Prime Video original movie. 

Spoiler Warning for ‘Sitting in Bars with Cake.’

“I should be learning some major life lesson right now, but I’m just annoyed.” 

In a moment of unbridled vulnerability between Jane and Corrine, the two share secrets, both admitting they sometimes wish they were more like the other. Corrine: brave and undaunted. Bold and colorful. Jane: thoughtful and introspective. Caretaking and selfless. Corrine says, “I should be learning some major life lesson right now, but I’m just annoyed” in a moment of full disclosure that is so brutally honest and self-aware. 

This idea of “learning from everything” relies on some sort of fatalistic universal education and, guess what, sometimes (if not most of the time) it feels like a big old crock. Corrine is young, and she wants to live. She’s rejecting the “Hollywoodification” of pain — the idea that with each struggle comes some sort of step toward self-realization. The comment stings, for it’s so relatable in its rejection of all the BS people tell you when you’re going through hell. Sometimes, you’re just going through it, and all you’re doing is waiting for it to be over. 

“I forgot your birthday.” 

Corrine is in the hospital, and she is suffering from a bit of memory loss and confusion. She’s unsure of the month, unsure of the day. When Jane gives her this information, she says, “I forgot your birthday.” Here Corrine is, lying in a hospital bed with brain cancer, and she’s concerned that she missed her bestie’s birthday. To Corrine, what many would deem inconsequential at this time is no less significant. Just because she’s sick — and slowly losing her grip on the world of the living — doesn’t mean she has ceased to care about those whose lives will go on in her absence. 

“I just needed something to be mad at. I’m not mad at you.” 

Jane overhears Corrine’s parents, Fred (Ron Livingston) and Ruth (Martha Kelly), discussing Jane’s terminal diagnosis in the other room. Fred notes that they should’ve taken Corrine home with her. If they did, maybe she would have gotten better. Ruth points out the faults in this argument, but Fred is understandably pulling at straws — coursing through the history in his mind, looking for a single misstep to find something to blame: something to focus his anger and sadness on.

 When Jane approaches Fred later in an apologetic fashion, he tells her this. Jane did all in her power — all anyone, even her parents, could have done. Her sickness is no one’s fault. Fred knows that. He simply needed somewhere to direct his rage. Direct this aching dejection and misery. This line is, once again, tragic in its sheer honesty. Saying it out loud is ownership of the behavior. He relinquishes the need to point blame and, instead, allows himself to just be pissed the hell off at the damn universe for putting his glorious child on her deathbed. 

“I never thought I’d have so much fun.” 

Ruth and Jane sit down and begin a little walk down memory lane. They relive the time Ruth promised Corrine that if she waited until she was 20 to get a tattoo of a record player, she would buy her a car. Yet, in Ruth fashion, she caved and let Corrine get it earlier. Ruth admits that she actually really likes the ink, too. Ruth then articulates this beautiful realization regarding her daughter. 

Corrine is such a bright light. She brings joy and a contagious, neverending pool of energy wherever she goes. But, it is when Jane replies, “Me neither,” that we lose it. Corrine isn’t this fun-loving, mood-boosting person just for Jane; she’s this person for all who are lucky enough to cross her path. This conversation spotlights the kind of person Corrine is and the kind of person all who know her will have to learn to live without. 

“Wake Me Up Before You Go-Go” 

Corrine’s Wham! jam. She gets up on that bar and dances with vivacity as she belts out the sing-a-long tune with a big smile and a zest for life. That’s how she sings this in one of the film’s opening scenes at the bar. Yet, toward the end, she selects this song once more. She’s sitting, and — with a breathy delivery and barely enough power in her voice to do more than whisper — she sings. Jane joins her to help out her bestie — even though she previously noted she would not make her karaoke debut tonight. Bestie love is stronger than the fear of a little public humiliation. 

The pain here lies in the juxtaposition between this scene and the opening montage. We see how fast Corrine has declined. How fast she has gone from a vibrant young woman with a whole life ahead of her to an exhausted cancer patient with most of her life behind her. However, she’s still smiling. She’s still singing. She refuses to let what’s to come control her in the now. She’s not dead yet, so hand her that mic and wake her up before you go-go, because she’s still here to “hit that high.”

Jane and Corrine sit on the beach 

If you haven’t seen Beaches, this scene may not hit as hard. However, if you’ve witnessed the classic film starring Bette Midler and Barbara Hershey in a very similar presence, this moment is bound to pull at the strings. Bette’s C.C. Bloom and Hershey’s Hillary Whitney sit on the beach and watch the waves go by before Hillary meets her death. Just seeing the sand and the beach patrons brings back this moment in an abundantly clear allusion to the ‘80s film. Jane doesn’t die at this moment, but it indicates that she only has so much time left. 

“I thought of another secret…” 

Toward the end of the movie, Jane tells Corrine, “I thought of another secret. I never wanted to move to LA. All I knew is that I’d follow you wherever you went.” She notes that she’d have gone to the darkest, grimiest place if Corrine would be there, for she has a way of bringing light everywhere she goes. Corrine cuts the tension a bit by replying “duh,” but it makes the moment no less tender.

Jane went to LA for Corrine, because Corrine is such a positive influence on her life. Deep down, she knew that, if she stayed close to Corrine, she would follow her heart, and not the “acceptable expectations” her parents have for her. It’s a remarkable commentary on their friendship and the type of bond they possess. They both have changed each other for good..and for the better.

The crux of the plot happens in a dream. You get to choose between three beaus: Paul the current attorney boyfriend, Jack the Earth-conscious high school sweetheart, and Rex the rock star who could further her career. You have some choices to make, but some are much better than others. (And yes, there is a right answer.) Today I’m ranking the main choices from worst to best. Which one did you choose?

4. Rex, the rock star

Okay, we get the initial appeal of this British babe. The tattoos, the hair, the charisma, the accent–he’s got it all. Plus, if Cami chooses Rex, she also has the benefit of furthering her career. But is that enough? As she chooses the Brit, his sex appeal quickly steps over the line into cringe territory. (Stop caressing your chest! OMG!) Plus, she barely knows him. This is the guy you have a fling with before you settle down, not the one you turn your life upside down to end up with. This isn’t a long-term guy, and I think he’d be the first to admit it.

3. Jack, the high school sweetheart

My first instinct was to put Jack above Paul. If she’s this confused about who she should be with, she clearly doesn’t like Paul as much as he deserves, but is Jack, her ex from high school, that much better of a choice? Sure, the man is gorgeous. Like, wow. But so much has changed in the ten years since they’ve been apart. People change. She’s risking a lot on something that isn’t as much of a sure thing as it seems. Plus, Cami pretends to care about the things he loves just to fit in with him. If you choose him, you end up at a protest that she only feels lukewarm about. Never choose a man that you have to change for.

2. Paul, the current boyfriend

I feel so bad for Paul. How could you not? He’s ready to propose to his girlfriend of three years and suddenly she’s like, “Nope, there are two other guys I’m thinking about.” Sure, his job is questionable and his sex appeal isn’t as universal as the other two, but he also understands Cami. He likes her just as she is. He’s thoughtful and attentive and really believes that they have what it takes to last the long haul. Of the three guys, he seems like the best choice.

1. Cami chooses herself

There’s one choice that you might not realize you can even make, and that’s having Cami choose herself. For instance, if you go the Jack route, you’ll inevitably get to decide between him or her. Here’s why choosing Cami is the right choice: None of the other choices are good. Rex is a complete unknown, Jack is an idealized form of her past, and if she still can’t be sure about Paul after three years of dating, he deserves to be let go. Clearly Cami needs some time to herself to figure out what she wants. And judging by the casino scene if you choose her, it seems like the secret “Perfect” ending. May we all choose ourselves like Cami should.

Check out Choose Love on Netflix.

So, let’s dive into actresses who take on combat-ready courageous characters with cutthroat conviction. The female actors who portray those willing to challenge Zoro in a sword fight. The heroines and antiheroines who will set a corrupt corporation ablaze while walking away with a couple of bruises, a tear in their jeans, and a blood-stained t-shirt. 

Note: The primary list will highlight actresses whose action-hero legacies exist beyond a singular movie or film franchise.

Angelina Jolie 

From the fearless and resourceful Lara Croft — who calculates just as fast as she combats — to the lethal, adaptable, and charismatic Jane Smith, Jolie has portrayed a handful of characters adept in hand-to-hand combat and loaded with an arsenal full of weaponry —crossbows, pistols, shotguns, combat knives, grenades, and more  —that she wields with acumen. She has also played the likes of skilled and enigmatic spy Evelyn Salt, the maternal and protective Mistress of Evil Maleficent, the cool and calm marksman Fox in Wanted, and voiced the fan-favorite Tigris in Kung-Fu Panda. 

Jolie’s heroes often boast an unwavering degree of confidence and an air of nonchalance. They are proud and polished. Relentless and driven. They also tend to be a bit mysterious — as to coincide with her dark features and angular bone structure. At the end of the day, her high-octane characters match her aesthetic intensity. 

Jodie Foster 

Who could forget Jodie Foster in Flightplan? Driven by an unwavering maternal instinct and sharp yet unstable mind, she portrays a grieving widow whose daughter disappears on a plane. With those around her determined to make her think she is losing her mind, she must combat both intellectual manipulation and physical threats. She exquisitely captures the balance between vulnerability and resiliency. Doubt and determination. Fear and ferocity. From using a fire extinguisher as an improvised weapon and contorting her body to climb into tiny spaces to employing a calculative and resourceful approach to investigation, she uncovers the mystery at the center via mental and physical superiority over the antagonists. She played a badass mother a few years prior in Panic Room, combining protective tendencies and intuition with top-notch problem-solving skills. 

Foster notably took home the Oscar for her take on Clarice Starling in The Silence of the Lambs. She deftly conveyed the doubts and insecurities of an FBI trainee with a difficult childhood as well as the grown, strong-footed, and hyper-fixated disposition of a woman undaunted. 

Foster’s badass heroines tend to be a mix of vulnerable and courageous. Broken yet brazen. She’s best when taking on a fighter who is not driven by ego or some clandestine assignment but by personal and emotionally stirring catalysts. She’s unparalleled when the head must overcome the heart to get the job done. 

Milla Jovovich 

If talking about Milla Jovovich’s badassery, we must start with her take on Alice in the Resident Evil franchise. Alice is a former security operative who becomes a relentless warrior fighting against hordes of zombies. She is beyond resilient — jumping back from intense physical altercations with an uncanny and unbridled degree of strength. She will not rest until all the undead are gone. 

She is independent and skilled in hand-to-hand combat, as are many action heroes, but her willingness to operate in the gray moral zone works in her favor, as she defies the traditional hero stereotype akin to a Marvel or DC character. Her motivations also shift throughout the franchise’s many installments. From what starts as a quest for identity and revenge becomes a drive to protect survivors and uncover the truth about a global pandemic. 

Outside Alice, Jovovich has also portrayed the martial artist Leeloo in The Fifth Element, the needs-no-introduction Joan of Arc during the Hundred Years War in The Messenger: The Joan of Arc Story, and the genetically-enhanced warrior Ultraviolet.  Her heroes often boast complex motivations that evolve over time and an assertive attitude that is unwavering in the face of powerful adversaries. 

Uma Thurman 

“It’s mercy, compassion, and forgiveness I lack. Not rationality,” Uma Thurman says as The Bride in Kill Bill: Vol 1. The Bride, or Beatrix Kiddo, is easily Thurman’s best-known ass-kicking character, as she slays her various opponents with a Samurai sword that measures 37⅞”. And just as she self-describes, she is a ruthless assassin lacking a single shred of empathy. Those around her continue to underestimate her, as she takes them down in a ritualistic fashion that is strategic and unclouded by emotional influences. Remorseless and callous. Left for dead on her wedding day by Bill and the Deadly Viper Assassination Squad, no word better describes her murderous vendetta than vengeful. She is an adaptable Martial Arts expert boasting lightning-fast reflexes — almost beyond human in nature — and unconventional tactics like the Five-Point Palm Exploding Heart Technique and swordplay with a broken blade. 

Thurman also played the seductive and fiery, manipulative and cunning Poison Ivy in the campy splendor Batman Returns. Here, she is psychologically deceptive, exploiting the male ego to gain an upper hand.

She also voiced Emma Peel in the ‘90s animated series The Avengers, portrayed the complex supporting character The Baroness in Gattaca, and, of course, mesmerized viewers with the captivating and confident Mia Wallace in Pulp Fiction. 

Michelle Yeoh 

Crouching Tiger, Hidden Dragon. Tomorrow Never Dies. The Mummy: Tomb of the Dragon Emperor. The Long Kiss Goodnight. Reign of Assassins. Everything Everywhere All at Once. From a warrior with expertise in Wudang-style Martial Arts to a secret agent who partners with James Bond, an immortal sorceress, and an elite assassin, Yeoh has portrayed the gamut of tough, skilled, and strategic heroes and villains. 

Whether fighting for good or evil, Yeoh’s characters always boast combat chops. Her cinematic portfolio is filled to the brim with hand-to-hand combat experts, as well as those beyond proficient with weaponry (or even magical powers). This list would not be complete without the woman who has been kicking ass on the big screen for decades and ultimately took the Oscar for the high-octane-fueled Everything Everywhere All at Once. 

Charlize Theron 

If there’s any actress out there who isn’t afraid to get their hands a little dirty, their hair shrouded in dirt and shrapnel, their knees covered in bruises and scars, their lips inflamed and dripping with blood, it’s Charlize Theron.

From the intense physicality required of her to play Furiosa in Mad Max: Fury Road and Lorraine Broughton in Atomic Blonde to the acrobatic acumen of Aeon Flux and the leadership qualities of Andy in The Old Guard, Theron’s badasses are often no-nonsense warriors who, though skilled in combat, take a few hits and wind up on their ass every now and again. 

Theron is also adept at playing ass-kickers who can assemble and lead a group of warriors. She has that shoulders-back disposition and impending stature — standing at 5’10” tall — that effortlessly demands respect and obedience. She is a formidable presence in the action space, nimbly balancing emotionally-wrought climaxes with seemingly never-ending fight sequences. 

Halle Berry 

Mess with Ororo Munroe and face the storm…literally. Halle Berry portrayed the X-Men character Storm in four different X-Men installments and always maintained a fiercely protective nature. She is selfless and driven to protect those who cannot defend themselves. Yet, she is also intelligent and forward-thinking enough to know when a fight calls for conversation rather than combat. She is an empathetic and strong leader who, rather than many ass-kickers on this list, is not heartless nor vengeful, but driven to fight her by compassion and desire for peace between mankind and mutantkind. 

Halle Berry also portrayed Patience Phillips in the critically condemned yet now campy cult classic Catwoman. In this film, she is rebellious and resourceful, seductive as a strategy, independent, and morally gray. Clad in tight black leather and adorned with diamond nails, she portrayed the acrobatic vigilante with both physical prowess and justice-seeking depth…even if some lines are a bit, well, over the top and theatrical. 

Berry also portrayed skilled NSA agent Jinx Johnson in Die Another Day, hacker Ginger Knowles in Swordfish, mother scorned Molly Woods in Kidnap, and historied assassin Sofia in John Wick: Chapter 3. 

Honorable Mentions: 

• Sigourney Weaver: Ellen Ripley in Alien, Dr. Grace Augustine in the Avatar films, and Joan Leaven in Cube. 
• Scarlett Johansson: Black Widow in the Avengers franchise, Lucy in Lucy, and Major Motoko Kusanagi in Ghost in the Shell. 
• Jennifer Lopez: Detective Harlee Santos in Shades of Blue, Karen Sisko in Out of Sight, Slim Hiller in Enough, Charlie in Money Train, Darcy in Shotgun Wedding, and Terri Flores in Anaconda. 
• Kate Beckinsale: Selene in the Underworld franchise, Anne Valerious in Van Helsing, and Celine in Total Recall. 
• Linda Hamilton: Sarah Connor in the Terminator films. 
• Carrie-Anne Moss: Trinity in The Matrix series. 
• Jennifer Lawrence: Katniss Everdeen in The Hunger Games series, Mystique in X-Men: First Class, Days of Future Past, Apocalypse, and Dark Phoenix. 
• Zoe Saldana: Gamora in the Guardians of the Galaxy series and Neytiri in Avatar films. 

‘House Party’ (1990) | Max

High schooler Kid (Christopher Reid) wants to go to his friend Play’s (Christopher Martin) house party, but his strict dad isn’t having it. As he tries to outsmart his Pops (Robin Harris) and get to the party, Kid ends up having an epic night filled with music and mayhem. 

House Party epitomized the vibrant hip-hop culture of the early ’90s. The film’s soundtrack is a who’s who of early ’90s hip-hop and R&B, and includes tracks like “To da Break of Dawn” by LL Cool J and Marley Mar and “Fun House”  by Kid ‘n Play. 

The film perfectly mirrored the spirit of youth rebellion that was just starting to brew. And remember those scenes with the pagers and huge phones? They gave us a glimpse of a world on the brink of a digital revolution.

‘Clueless’ (1995) | Paramount+

Dive into the glamorous world of Beverly Hills with high schooler Cher Horowitz (Alicia Silverstone), her fashion-forward friends, and her former stepbrother, Josh (Paul Rudd). This modern take on Jane Austen’s Emma explores Cher’s matchmaking endeavors and personal growth.  

Clueless was a reflection of ’90s materialism. Cher’s journey from a self-absorbed teen to someone who genuinely cared about others resonated with the era’s growing emphasis on authenticity.

Cher’s high-tech closet gave us a sneak peek into the future, while her fashionable outfits became ’90s style benchmarks. Her iconic yellow plaid outfit is still celebrated and worn as a Halloween costume. And her phrases like “As if!” and “Whatever!” became part of the ’90s lexicon.

‘Scream’ (1996) | Paramount+

Wes Craven’s meta-horror masterpiece introduces us to the town of Woodsboro, where a masked killer terrorizes a group of teens, including Sidney Prescott (Neve Campbell).  

Scream was a cultural phenomenon that etched itself into the ’90s.  It was self-aware — like a horror movie within a horror movie — and it was high concept in its deconstruction of genre tropes. Sidney Prescott was more than a scream queen; she symbolized the ’90s spirit of empowered women.

‘The Craft’ (1996) | Hulu

Sarah Bailey (Robin Tunney) moves to a new school and befriends a group of outcast girls who practice witchcraft. As they harness their supernatural powers, their newfound abilities come with unforeseen consequences. 

The Craft emphasized themes of female empowerment and the importance of strong, supportive friendships. It was a reflection of the era’s growing emphasis on women’s rights and camaraderie. The film’s success may have contributed to the rise in supernatural teen dramas, laying the groundwork for shows like Charmed and Buffy the Vampire Slayer.

‘I Know What You Did Last Summer’ (1997) | Hulu

In the coastal town of Southport, four friends — Julie James (Jennifer Love Hewitt), Barry Cox (Ryan Phillippe), Helen Shivers (Sarah Michelle Gellar), and Ray Bronson (Freddie Prinze Jr.) — find their lives forever altered when a tragic accident shatters their carefree summer night. 

I Know What You Did Last Summer embodied the decade’s appetite for teen thrillers and contributed to a wave of similar movies, including Urban Legend and Final Destination. The film indirectly touched on themes of secrecy and exposure, reflecting our growing concerns about the digital age, where privacy was becoming a precious commodity. It also brought together ’90s power couple Sarah Michelle Gellar and Freddie Prinze Jr.  

‘Can’t Hardly Wait’ (1998) | Max

After dumping his long-term girlfriend, Amanda Beckett (Jennifer Love Hewitt), popular jock, Mike Dexter (Peter Facinelli) throws a raging pre-graduation house party. Preston Meyers (Ethan Embry), a love-struck outcast, seizes the opportunity to finally confess his feelings to Amanda. Meanwhile, the party unfolds as various characters, including Denise Fleming (Lauren Ambrose) and Kenny Fisher (Seth Green), navigate their own romantic and personal dramas throughout the night.  

Can’t Hardly Wait perfectly captured the ’90s fascination with epic teen parties, with a soundtrack including tracks from Blink-182, Third Eye Blind, and Smash Mouth. The movie’s depiction of a chat room romance served as a nod to the growing influence of the internet on our social lives.

‘She’s All That’ (1999) | Showtime

High school heartthrob Zack Siler (Freddie Prinze Jr.) accepts a bet to transform the artsy and not-so-popular Laney Boggs (Rachael Leigh Cook) into the prom queen. As Laney undergoes a makeover, unexpected feelings and genuine connections develop.  

She’s All That dove into the themes of transformation and authenticity, mirroring the era’s quest for personal growth and genuine connections. Some of the film’s iconic moments, like Freddie Prinze Jr.’s hacky sack performance, were quintessential ’90s pop culture experiences.

’10 Things I Hate About You’ (1999) | Disney+  

This modern adaptation of Shakespeare’s The Taming of the Shrew follows the headstrong Kat Stratford (Julia Stiles) and her sister Bianca (Larisa Oleynik) as they butt heads on the idea of high school romance. Patrick Verona (Heath Ledger) tests Kat’s disdain for conformity when he charms her enough to get her to attend senior prom.

10 Things I Hate About You embodied ’90s teen rebellion and individualism. It celebrated grunge style and popular ’90s music, including tracks like Letters to Cleo’s “Cruel to Be Kind” and Save Ferris’ “I Know.”  Kat Stratford’s unapologetic attitude was inspiring and influential. And Heath Ledger’s magnetic performance as Patrick Verona solidified his status as a Hollywood heartthrob. 

‘Varsity Blues’ (1999) | Prime Video 

In the small town of West Canaan, Texas, football is everything. Star quarterback Lance Harbor (Paul Walker) faces tremendous pressure from the community and his coach, while backup QB Jon Moxon (James Van Der Beek) questions the town’s obsession with the sport. 

Varsity Blues tapped into the ’90s obsession with sports and showcased the pressures high school athletes faced, exploring themes of coming of age and self-discovery.

‘Cruel Intentions’ (1999) | Prime Video

In the seductive world of Manhattan’s elite, step-siblings Kathryn Merteuil (Sarah Michelle Gellar) and Sebastian Valmont (Ryan Phillippe) engage in a twisted game of sexual conquests and manipulation. Their intricate web of deceit takes an unexpected turn when a virtuous girl, Annette Hargrove (Reese Witherspoon) arrives to challenge their cynical views on love.

Cruel Intentions helped the genre evolve by proving that teen romance stories could be complex and dark, laying the groundwork for shows like Gossip Girl and Pretty Little Liars. The movie was a reflection of our era’s fascination with complex relationships and moral dilemmas. It delved into themes of power and manipulation, mirroring our growing cynicism. It was a defining film that combined a decadent lifestyle with moral introspection, truly capturing the essence of the late ’90s. And with hits like “Bitter Sweet Symphony” by The Verve and “Praise You” by Fatboy Slim, the soundtrack serves a perfect dose of ’90s nostalgia.

‘Drive Me Crazy’ (1999) | Prime Video

When their respective romantic plans fall apart, neighbors and former childhood friends Nicole Maris (Melissa Joan Hart) and Chase Hammond (Adrian Grenier) decide to pretend to date. But what starts as a charade soon leads to real emotions. 

Drive Me Crazy is set against the backdrop of Y2K, a time when the world was bracing for potential chaos as the new millennium approached. It captured the anticipation and excitement we all felt in 1999. And it also showcased the growing influence of the internet on relationships, with the characters engaging in online chat room romance, subtly mirroring the era’s budding digital age.

‘American Pie’ (1999) | Prime Video

Four high school friends make a pact to lose their virginity by prom night. This raunchy yet heartwarming comedy explores their comical mishaps and the bonds of friendship during this pivotal moment in their lives.  

American Pie brought a new level of raunchy humor to the teen comedy genre. It was unapologetically bold, pushing the boundaries of what was acceptable on the big screen at the time. 

The film’s iconic moments, such as the infamous pie scene, have become emblematic of ’90s comedy. American Pie symbolized the era’s willingness to embrace a new level of irreverence and authenticity in storytelling. It also set the stage for a wave of raunchy comedies in the 2000s, including the American Pie sequels and movies like Superbad and The 40-Year-Old Virgin.

Canceled too soon: ‘Sense8’ 

Sense8 was a globe-spanning sci-fi epic that placed LGBTQ+ characters in the spotlight. In the show, eight individuals from different parts of the world share a psychic connection. They can tap into each other’s skillsets — from hacking into computers and driving buses like Nascar pros to kicking some ass in hand-to-hand combat — which comes in handy as they discover that a powerful organization seeks to rid the world of their existence. 

Featuring stunning visuals, in-depth characterizations, and a twisty-turny wacky Wachowski plot, the show was a rich — occasionally sloppy — but compelling work of beauty. Likely due to the sheer cost of production, the show bowed out after a movie-like special in 2018 (instead of a third season). From the high-octane action sequences to the arousing group sex scenes and intimate vulnerable exchanges, Sense8 had all you could want in a show — sex, action, compassion, and intrigue. 

Went on for too long: ‘13 Reasons Why’  

The first season of 13 Reasons Why, based on the novel of the same name by Jay Asher, follows the story of Hannah Baker — a high school girl who dies by suicide and leaves behind 13 tapes that explain why she did it (and who in her life contributed to the irreversible act). 

Though unforgivable in its glamorization of suicide — especially considering its impressionable demographic — the first season provided a cohesive storyline that nimbly jumped between the past and present to maintain a mysterious throughline. It was also a gripping exposé on adolescent grief with strong performances from the teenage actors and a stand-out Kate Walsh as Hannah’s devastated mother. 

Unfortunately, once the show no longer had source material to rely on, it went off the rails. Ticking off checkboxes of hot-button adolescent issues in formulaic fashion, it did no more than instill shock value. It lost all sense of depth, becoming a melodramatic mess. Yet, despite the show’s utter fall from a semblance of grace, it received two more seasons that undercut the somewhat strong starting point. This should have been a one-and-done limited series based on Asher’s work. 

Canceled too soon: ‘The Chair’

The Chair followed the trials and tribulations of an English department chair at a major university and starred a humorous and empathetic Sandra Oh in the leading role. Though a bit ambitious in all it sets out to accomplish, the show is an exploratory window into the academic world — and the all-too-disappointing fall of the humanities. As STEM fields become the “safe” option to guarantee success in this capitalistic-driven world, fewer students are enrolling in literature and art courses and, without students, do you have a department? Yet, more so, without the humanities, what happens to the culture at large? 

Oh is utterly relatable — she is warm and tender but driven and determined. And, she boasts an outstanding supporting ensemble including Holland Taylor, Nana Mensah, David Morse, Joe Duplass, and Bob Balaban. Unfortunately, the show was axed after a singular standout season that tightly married absurdist comedy with industry misfortunes to create a dilemma that was at once professional and personal. 

Went on for too long: ‘The Ranch’ 

The Ranch follows Colt (Ashton Kutcher), who returns home to his family’s ranch in Colorado after his semi-pro football career ends in failure. Though the show didn’t exactly do anything “wrong” (except hire Danny Masterson), it didn’t do all that much right. It’s quite formulaic and predictable and relies on a laugh track in the face of stale jokes that are often unfunny or offensive. 

Though it’s common for shows of this sort to blend humor with more tender moments, it’s important to maintain a cohesive tone. Unfortunately, The Ranch suffered from tonally incongruous jumps between laughing matters and somber moments. And, despite a messy hodgepodge of heartfelt moments and humor, the show still failed to adequately develop its characters over the course of four uninspired seasons (split up into eight parts). 

Canceled too soon: ‘One Day at a Time’ 

An exquisite reimagining of Norman Lear’s 1970s series of the same name, One Day at a Time follows a Cuban-American family as they face financial setbacks, racism, mental health issues, homophobia, interfamily disagreements, and more. Yet, despite conquering serious subject matters, the show always managed to inject laugh-out-loud humor without minimizing the very significant issues it tackled. 

The main family members — Penelope (Justina Machado), Alex (Marcel Ruiz), Elena (Isabella Gomez), and Lydia (Rita Moreno) — all boast clearly defined relationships with one another that develop throughout the series, especially as the younger characters travel through the harsh terrain of adolescence. Not to mention, the performances from Machado and Moreno are award-worthy. They play a mother-daughter duo who love one another but do not see eye-to-eye as a result of generational differences and perspectives surrounding tradition.

The show is smart, heartfelt, and hilarious. A downright triumph that is timely and relatable — especially to those of us with loud, larger-than-life family members who can’t help but insert themselves into each other’s business. Netflix canceled the series after three critically acclaimed installments. Pop TV picked it up for one more season, and then it was goodbye forever to the Alvarez family. 

Went on for too long: ‘Fuller House’ 

Netflix canceled the show above after three seasons but gave this poorly-acted, cringeworthy Full House reboot five nostalgia-heavy but utterly empty seasons. Please make it make sense. 

Fuller House may have satisfied diehards of the original series, as we got to see our favorite ‘90s family back on screen. However, once that jolt of excitement wore off, it became clear that this show didn’t have much to offer outside entertaining cameos from Uncle Jesse, Joe, and now Grandpa Danny. 

There are some cutesy moments and some family hugs that remind us of yesteryear, but it’s unoriginal and utterly unnecessary. Fuller House is yet another cash-grab reboot that does not improve upon or extend its predecessor in any significant way. 

Canceled Too Soon: ‘The Midnight Club’ 

The Midnight Club is yet another Mike Flanagan creation that explores death and the idea that its finality may not exactly be final. The show takes place in a manor with a mysterious history and follows eight terminally ill teenagers who meet at midnight to share sinister stories — and look for signs of the supernatural from beyond. When death is knocking at your door, there isn’t much to be afraid of. There aren’t many risks you won’t take. 

Though not Flanagan’s best — and paling in comparison to the triumphant Haunting of Hill House and Bly Manor — the show was a heartfelt exploration of the demons within us and outside of us. It’s tender. And the young-adult spin, while reducing the horror level, does not make the show any less impactful. It was canceled after one emotionally stirring and thrilling season. 

Went on for too long: ‘Elite’ 

Three working-class students enroll at an elite high school in Spain (thanks to a scholarship program), and the clash between them and the existing high-brow students ends in murder. The first season offered a gripping mystery while exploring class differences, the power wealth grants, and the disadvantages the absence of it creates.

Unfortunately, in a very How to Get Away with Murder fashion, each new season presents a new death. Each new season, there is a new string of suspects, as the students band together to dodge trouble. It’s extremely repetitive. The formula only works for so long, and with most of the original cast members (whom we were so drawn to) no longer in the series, it’s no longer worth the watch. Season 7 is set to drop on Netflix in October 2023… It just keeps on kicking!

While rewatching episodes on Netflix, one of my favorite pastimes is dissecting its far-removed portrayal of life and business. It’s fascinating how, in my teenage years, I might have aspired to emulate these characters. Thinking, ‘Hey this is how reality really is!’ But now, with a seasoned perspective, it’s clear that much of what passes for drama on television bears little resemblance to reality.

It’s intriguing to think that Game of Thrones, set in a fictional medieval world with dragons and magic, could put forth a portrayal of life that feels more authentic than Suits, which offers a contemporary, real-world setting. The way Suits dramatizes the legal profession, business dynamics, and even life in New York City is so stylized that it is a complete fantasy.

Here are some important life lessons/observations from Suits that you should definitely follow if you want to be a high-profile lawyer (or any business person) in New York City.

Important conversations should happen in public restrooms.

How many times have you thought let’s have an important business meeting inside a public restroom? I don’t think I’ve ever even talked to anyone inside a public restroom — let alone had a business meeting in one. In Suits, they are always in bathrooms having the most important conversations. Business happens in the bathroom.

To be the best lawyer, specialize in absolutely nothing.

Do it all. What is Harvey Specter’s domain expertise? He’s Michael Jordan’s lawyer, right? So he does sports law. No, wait—today he’s representing someone in their divorce. Wait, now he’s on a criminal defense case. Supposedly he’s a corporate lawyer, but his profession is radically all over the place with no real expertise. Specializing in nothing is what great lawyers do.

Show up late at night at your co-workers’ homes.

Could you imagine if you just like showed up in the middle of the night at your boss’s house uninvited? Or, if they did that to you? Well, here’s some advice for young people entering the workforce. You should definitely be like Mike Ross and just show up at your boss’s doorstep. And don’t find it weird if your boss shows up uninvited to your house either. That’s normal (and not at all creepy).

Likewise, randomly badger your opponents, clients, and other colleagues in person.

A phone call? No way. That’s not how you do business. Show up at their place of work and start badgering them. Or, randomly wait for them outside their office. If they aren’t at the office, just visit the golf course that is so easy to get to right from Midtown Manhattan.

Spend 90% of your time as a lawyer grooming, exercising, buying clothes, and doing other sartorial work.

I actually found a blog post on LinkedIn where someone non-ironically argues that there is a real-life lesson to take from Harvey Specter’s appearance: “He has a slick haircut and is impeccably dressed. He knows that giving his best starts with being the best version of himself.”

Sure — but also not really. First, I would rather have a lawyer that looks like crap because they are too focused on their work to buy a Tom Ford suit every other week. But, more importantly, the way Harvey, Jessica, and everyone else dress on the show would mean they spend most of their time shopping, getting dressed, and going to the dry cleaners. They just always look too good.

I know now that everyone works from home we’ve lost a lot of workplace style; however, even before all the work-from-home madness, people didn’t dress this fashionably at all times (especially overworked attorneys). Also why do they never casual Friday in Suits?

Speaking of casual dress, one of my favorite sartorial unrealities in the show happens after work. Harvey is in his apartment, and he doesn’t immediately tear off his suit like any normal human being would. Instead, he just rolls up his sleeves and sulks around his apartments while looking sexy and drinking scotch.

Spend the other 5% of your time with hobbies that make you look like James Bond.

For instance, Harvey’s pastimes include boxing, racing cars, and playing cards. Find hobbies like that. Louis loves ballet, mudding, and opera. And, despite Rachel Zane being an overworked paralegal, she has enough time to be an interior design genius who knows everything about every restaurant in New York City and beyond. You must be able to do it all.

Spend 4% of your time making sure your office and apartment look spectacular.

Like having perfect style all the time, all high-power lawyers living in New York City live in impeccable penthouses that cost 30 million dollars and have amazing views of the city from their offices.

Spend 1% of your time doing actual legal work.

If there is still time in the day, try and do a bit of legal work. That said, make sure most of your legal work involves witty banter and high-stakes drama, and avoid doing any boring paperwork.

NEVER, NEVER USE EMAIL.

The preferred method of communication in Suits is printing out a document, putting it in a cute folder, and then delivering said cute folder to the recipient in real life. This is the ideal format for important communication.

On a similar note, NEVER spend more than 2.5 seconds looking at complex legal documents before making a decision.

Mike Ross will spend 400 hours working on something and then when he delivers it to Harvey in the cute folder, Harvey just looks at it for about half a second and makes a decision. This is an ideal way to process information. Paying attention to the details is overrated in law. Besides, since the legal system in the United States moves so quickly, you don’t have time to actually read up on your cases.

Hacking into computer systems is as easy as shoplifting.

Need to do something shady — like register yourself as a member of the New York Bar? Or, hack into Harvard University’s student system and say you attended their law school? No problem. A smart hacker can do this for you at the drop of a dime. Hacking is, like, pretty simple.

Take a town car everywhere.

In New York City, avoid walking to places, avoid the subway, and just have a private driver bring you everywhere. There is no traffic and you’ll easily move around the city. Also, bonus points if you save money on rent by living in Toronto (where Suits was filmed) instead of New York. Unfortunately, though, Toronto traffic is just as bad.

Go on unnecessary power trips.

Jessica Pearson, Harvey Specter, and Louis Litt love to go on power trips. They call impromptu meetings to assert dominance, threaten to fire people for absurd reasons, and engage in dramatic confrontations in front of the entire office. This is how real bosses should and do act. And don’t forget to waste valuable resources at your company doing things like mock trials, or suing your colleague because you want to steal their cat. And yes, if you’ve never seen the show, that is a real plot line.

Honestly, I love this show. TV should not be reality and that is why we all can’t stop watching this show.  Stream it now on Peacock or Netflix. And here’s hoping with the renewed interest in the show this summer, there will be a season 10 reunion.

These films featured over-the-top costumes and dialogue just as vibrant and snappy as their comic book source material. The “pows” and “whams” of the comic book pages — the elaborate and sensational world that is intentionally larger-than-life  — seamlessly transferred from page to screen.

Who could forget Michelle Pfeiffer’s Catwoman: clad in tight black leather and adorned with a whip who backflipped her way out of focus? She skipped so merrily as she catalyzed chaos. Or, sliced a predator’s face — vertically then horizontally  — while the words “tic tac toe” oozed from her lips with steady vitriol. She even whispered with a breathy authority six memorable words: “I am Catwoman. Hear me roar.” Her lip slightly twitched with disappointment and festering aggravation. Her performance carried a heightened undertone. She boasted an intentionally contrived persona —  illustrated with such histrionic consistency as to draw a line in the sand between real-life villainy and the entertaining-before-threatening tone cemented here.

Then there was Uma Thurman’s Poison Ivy who boasted two giant red buns atop her head and eye makeup that would make a drag queen swoon. And the way she delivered her dialogue with an air of seductive sorcery was at once flirtatious and threatening. Ivy tells Robin, “Freeze has taken the new telescope and turned it into a giant freezing gun. He’s about to turn Gotham into an ice cube.” A line like this is amusing in its simplicity, as it lacks the pseudo-scientific mumbo-jumbo akin to contemporary superhero movies that — though featuring individuals who fly and shoot magic beams from their bodies — feel an incessant need to aim for a degree of realism. Oh, and the way Ivy sashayed across her lair — hips jutting each way as if pulled by a string was deliciously deviant. Once again: flamboyance to the forefront. 

There’s a sense of artifice and theatricality to Ivy and Catwoman’s villainy. They do not succumb to depictions that would have them mirror the likes of an everyday bank robber or homicidal serial killer, for they are intentionally so far from the threats a real society faces. Name a historical baddie who introduced themselves with a sultry whisper or sat atop a flowery throne with their hair blowing in the wind… despite the indoor setting. 

The vibrant color palette and extravagant performances are directly in line with the camp aesthetic — subverting seriousness in favor of joyfulness and taking what is so often considered “low-brow” to make an artistic treasure — to make an experience that we can dive into guilt-free. We can sink our teeth into and enjoy the villainous badassery consequence of the campy detachment from reality.

Despite all the deaths and explosions, and the “we’re all gonna die” throughline, there’s an underlying sense of ease. Today’s comic book movies, in aiming to relay the woes of contemporary society — in trying to make some critically-worthy commentary on the heinousness of the “real world” — have lost the comic book eccentricity.

The fantastical flair of the POWS, BIFFS, BOOMS, SNAPS, PINGS, AND WHAMS have been supplanted by gray morality, capitalistic dangers, and the all-too-imaginable biological warfare. Superhero flicks have sacrificed flavorful fun in favor of “fact-leaning fantasy” — in favor of some sort of amalgamation of fiction and nonfiction.  They blur the lines between supervillain and criminal, superhero and social justice warrior. And, this is not to say that these movies aren’t great in their own right. Rather, they feel like a far cry from their comic book counterparts. From the youthful bliss tied to turning the pages of a rainbow-hued fantasy world. 

Comic books are innately campy. If you trace back their origin, you stumble upon pulp magazines and serialized adventure stories, which feature grandiose melodrama and sensationalized narratives. The bold colors, dynamic superhero poses, and heightened facial expressions all work to enhance the comics’ air of theatricality. You receive this larger-than-life atmosphere that does not (and cannot) exist on our boring, homosapien-ruled planet. 

The black-and-white morality akin to traditional comic books also lends itself to campiness. Developing characterizations with such broad brushstrokes doesn’t create much room for nuance and, in the absence of nuance often comes the absence of subtlety. And if camp is anything, it is the antithesis of subtle. 

We need campy comic book movies once again. We need the escapism of unrealistic threats with gigantic space lasers. We need our heroes and villains dressed in nipple-adorned supersuits. 

It’s not to say that there is something wrong with the modern superhero cinematic space, but rather, something else should exist alongside that world where all the humor is the same, all the science is synonymous, and all the men boast a sense of humor best described as playboy meets boy next door meets teenage quipster.

Bring back the ostentation. Bring back the vibrant colors and the dialogue that’s just a little cringe. Bring back the catchphrases and maniacal laughs. Let us escape once more into our villains and heroes. And let us love our villains just as much as we love our heroes without feeling bad about it. For when a villain is campy — when there is no sobriety in their criminality — they become but a kooky caricature. Felonious but not foreboding. Treacherous but not tangible. This is the imaginative glory of the campy superhero movie, and that glorious approach to superhero storytelling deserves a return to the spotlight. We need a break from the cookie-cutter super flicks, and camp is the nostalgic answer. 

Newer Hits

Crush (2022)

After being falsely accused of being her high school’s graffiti artist, Paige agrees to join the track team. The problem? She has to be helped by her crush’s sister, AJ, when all she wants is the attention of Gabby. This is a sweet queer teen rom-com that has nothing to do with the horrors of coming out, which is a much-needed breath of fresh air.

Fire Island (2022)

When a group of friends realize that the home they always stayed at on Fire Island isn’t going to be there next year, they want to preserve their final summer the best way they know how: With all the best queer parties. But when Noah starts to fall for surly Will, he might have to change his plans. This is a modern gay adaptation of Pride and Prejudice, and if that doesn’t get you to watch it, I don’t know what will.

Space Oddity (2022)

Alex dreams of going to outer space, so when his application to be a part of a Mars expedition is accepted, he’s thrilled to tell his family about his one-way journey. He has to grapple with their lack of support and his burgeoning feelings for Daisy, who he goes to for life insurance. Soon he must decide if what he’s been looking for is really on Mars, or has been on Earth all along.

Classic Rom-Coms and Old Favorites

Practical Magic (1998)

Every witchy girl’s favorite movie for fall, Practical Magic shows what it means for women to stick together against the oppressive presence of men. But of course, if you wish for a man who one blue eye and one green, who can ride a horse backwards, and whose favorite shape is a star, you deserve the love he can bring. If you’ve gotten this far without seeing this classic, it’s time to fix that (and just in time for spooky season!)

Sweet Home Alabama (2002)

Melanie just got the proposal of her life, but there’s just one problem. She has to go back to her Alabama hometown to serve divorce papers to the husband she hasn’t seen in years without her New York fiancé finding out. Though this pick has the classic rom-com structure, the immense romantic chemistry between Reese Witherspoon and Josh Lucas gives it all the staying power you’d hope for.

27 Dresses (2008)

Jane is content to always be a bridesmaid, never a bride. After all, she loves helping friend after friend create the best possible wedding. But when she meets a reporter who takes a special interest in the fact that she’s been a bridesmaid 27 times, she starts to question her lifepath. You’ll never listen to “Bennie and the Jets” the same way again.

Forgetting Sarah Marshall (2008)

Jason Segal, who plays the lead, Peter Bretter, based his script on a real-life event. Just like his character, he’d had the worst breakup of his life while he was stark naked. And that’s just the kind of humor that follows Peter all the way to Hawaii to try to get over his ex–who, oops, happens to be staying at the same resort.

Center Stage (2000)

When Jody gets into the American Ballet Academy, her excitement is short-lived. It’s a lot harder than she was expecting, and the teachers seem to have it out for her. And what makes things more complicated? Having to choose between her fellow classmate and the bad boy of the American Ballet Company. This has some of the most memorable dance scenes of the last few decades.

The Princess Diaries (2001)

Mia Thermopolis is just a regular, nerdy girl with only one close friend and a killer apartment in a former firehouse. Everything’s going according to plan until she finds out that she’s actually in line for the throne of a country she’s never even heard of, Genovia. Plus, Julie Andrews! Whether you read the books or not, this is a must-watch.

Hidden Gems

Sliding Doors (1998)

Having alternate timelines before it was cool, Sliding Doors shows how different Helen’s life goes as the plot splits at the train. How do things change if she just misses the train? And what happens if she gets on? This movie is a nice mix of fun and romantic with a bit of drama and heartbreak for good measure. Sometimes you just have to ask, “What if?”

What’s Your Number (2011)

Ally reads an article with some suspect statistics saying women who’ve slept with 20 or more partners are significantly less likely to get married. Unfortunately, she’s just hit that number, so she decides to go through her list of past flings to see if she still has a spark with any of them, and she needs the help of her neighbor to find them. This movie is criminally underrated.

Leap Year (2010)

Anna goes out of her way to travel all the way to Ireland on the leap year for an interesting tradition: It’s the one day when it’s okay for women to propose to men. But she gets stranded in a remote village and must enlist the help of a surly local to get to Dublin. While the movie isn’t perfect, there’s one thing that carries it into the best-of category: The chemistry between Amy Adams and Matthew Goode.

Sleeping With Other People (2015)

What happens when two people who are terrible at relationships find each other? In the case of Jake and Lainey, they decide to keep sex out of the equation and just be friends. But wouldn’t you know it? That’s exactly what they needed. This is one of those rom-coms that you’ve either never heard of, or won’t shut up about. Time to join the latter!

 ‘Bros’ 2022 | Prime Video

Though Billy Eichner isn’t everyone’s cup of tea — as his in-your-face personality and incessant gabbing can grow grating — Bros presents a romance between two men who haphazardly stumble their way to love. They dance through many a typical male homosexual dilemma — foursomes, open vs. closed relationship conversations, straight women who are a bit too enthusiastic about their allyship, late-night clubbing endeavors, and disappointing Grindr conversations. Yet, the film also boasts those tried-and-true rom-com moments — the yearning glances from across the room, the stress-induced pizza-eating, and the overthinking of text conversations. 

Though it’s not exactly the significant step forward for queer cinema it was marketed as — given the “masc for masc” relationship at the center seemingly in place to remain palatable to straight audiences — it’s definitely a cute watch. There are some laugh-out-loud moments and some swoon-worthy exchanges, as well as a nice sprinkling of those arguments that are both sincere and funny.  

‘Alex Strangelove’ 2018 | Netflix  

Alex has got it all. He’s an A-student with a cute girlfriend and a tight-knit circle of friends he can depend on. All he has left to do: lose his virginity. It’s smooth sailing, as he sets his sights on a romantic night with his girlfriend Chloe…but first he meets Elliot — an out and proud gay man who is unabashedly forward about his interest in Alex. The question is: Does Alex feel the same way about the offbeat and captivating Elliot? 

As Alex comes to terms with his sexuality — the letters on the cereal boxes before him transforming to read Heter O’s and Gay Flakes instead of Honey O’s and Krispy Flakes — his friends are right there to support his journey. The message at the core: before you can find love, you must find yourself. Though centering on teenagers, it’s an insightful and mature foray into sexual awakenings and the complexities tied to attraction. It’s a classic coming-of-age movie with a queer twist and just enough progressive and charming beats to capture your heart. 

‘Love, Simon’ 2018 | Disney+

Simon has yet to tell his family and friends that he’s gay. Like many a queer adolescent, he’s scared to come out of the closet. What will his family and friends say? Will people look at him differently? Will he be treated differently? When he starts chatting with a gay classmate online, he begins to fall for him and finds solace in the fact that there’s another gay student at his school. 

He’s so ready to be himself. The desire to stop holding his breath — as his mother notes — comes to a boil alongside this romantic mystery at the center. You’ll grin from ear to ear as you watch this adorable rom-com that may (spoiler warning that’s inevitable) end a bit too idealistically with instantly supportive parents and a perfect crush…but we’re here for it anyway. 

‘Happiest Season’ 2020 | Hulu

Abby and Harper are the perfect couple. Happy together. Ridiculously compatible…and hopefully headed to the altar (as Abby has already purchased the ring). There’s just one teeny-weeny, microscopic, no-big-hurdle in the way: Harper isn’t out to her wealthy and WASP-y conservative parents. So, when they head to Harper’s hometown for Christmas, Abby must take on the role of Harper’s “orphan friend.” 

Abby and Harper hide their relationship while stealing moments to kiss and flirt. Sibling rivalries resurface, ingrained family dynamics become humorously apparent, and Abby and Harper’s relationship is put to the test. Abby grows rightfully frustrated at being asked to step back into the closet  — metaphorically (and literally at one point) — that she has so triumphantly emerged from. Will Harper come out to her family — consequences be damned? Will their relationship survive the so-called “merriest season?” 

With Kirsten Stewart and Mackenzie Davis in leading roles — and a supporting ensemble that includes the lovable likes of Alison Brie, Aubrey Plaza, Daniel Levy, Victor Garber, and Mary Steenburgen — you can’t help but get swept up in the cutesy cliches. Though another somewhat trite coming-out story, it’s got enough heart — thanks to authentic performances – to keep you hooked. 

‘The Prom’ 2020 | Netflix 

A gay musical with THE Meryl Streep playing a narcissistic Broadway performer who heads to a small town on a self-serving mission to save her reputation and gain favor with the merciless press? Count us in. As for the mission: make sure an Indiana teen — up against a homophobic PTA and school board — can attend prom with her girlfriend. 

Through “fiery songs,” a ton of bedazzled outfits, and over-the-top glamour — as well as an inspired Fosse number by Nicole Kidman — this movie is filled to the brim with sing-a-long tunes. Yet, it is the intimate relationship between the gay protagonists — Alyssa (Ariana DeBose) and Emma (Jo Ellen Pellman) — that saves this from glitzy shallowness. It’s super flashy and boasts a ridiculous amount of talent, which sometimes distracts from the more heartwarming love story at the center. But, it’s an upbeat ride that never slows down, so just hop on the rollercoaster and throw your jazz hands in the air. 

‘Fire Island’ 2022 | Hulu

Six-packs and chiseled jawlines. Speedos and thick thighs. Perfectly quaffed hair and teeth as white as snow. Late-night parties with tons of alcohol and scantily-clad gays. This is what you see when you head to Fire Island. However, though this film has no shortage of eye candy, it also boasts quite the progressive and socially conscious underbelly —  with conversations surrounding racism, classism, body image, and internalized homophobia circling the romantic plotline at the center. 

Just like the source material it is based on, Jane Austen’s Pride and Prejudice, the film dives headfirst into social class and hierarchies — with a contemporary queer twist that spotlights what separates gays and lesbians from other gays and lesbians. It’s just as funny as it is sincere — making declarations that are true, yet tough to swallow — with a dash of sarcasm and a lot of heart. 

‘Red, White & Royal Blue’ 2023 | Prime Video 

Alex, the son of the President of the United States, meets Prince Henry, who is fourth in line to the British throne, and it’s love at first sight. Just kidding. They despise one another. It’s quippy remarks and off-handed comments. It’s back-handed compliments before the press and feigned grins to satisfy the masses — and safeguard the political standing between Britain and America. Yet, as time passes, they come to realize they aren’t as different as they seem. And, they can’t resist their attraction to one another. Each one is cute in their own way — the blonde and polished Henry boasts a charming and sophisticated demeanor, while the laid-back and suave Alex has a captivating flirtatious nature. They possess their fair share of endearing qualities — on the surface and otherwise. 

Though Red, White & Royal Blue isn’t accomplishing anything very “new,” it’s an adorable watch with several funny one-liners and swoon-worthy, envy-inducing romantic escapades. 

‘The Half of It’ 2020 | Netflix

The endearing but hopelessly inarticulate jock Paul hires the shy but linguistically gifted A-student Ellie to write love letters to his crush. Ellie is accustomed to taking cash to write other students’ academic essays, so this is a foray into unexplored territory for her. All is smooth sailing and Paul and Ellie’s friendship blossoms as the movie progresses. There’s just one problem: Ellie begins to fall in love with the same girl she’s helping Paul win over. 

It’s a coming-of-age queer tale that spotlights what it feels like to be an outsider finally finding a connection. It’s tender. It’s moving. It’s remarkably funny, but never minimizing. It’s a strong teen movie that relies on a familiar narrative structure but imbues it with fresh and clever attractions.