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.

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. 

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!

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. 

 ‘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. 

From Carrie Bradshaw to Cookie Lyon, we’re breaking down the most stylish TV characters of all time. The ones who boasted haircuts so impactful they popped up on the streets of Connecticut suburbia. The ones who managed to breed life into brands that may have otherwise slipped through the cracks. The ones who showed fans that bold is not bad; it’s glamorous. Mis-matched patterns are not a faux pas, but a blow to uptight formality. 

Blanche Devereaux | ‘The Golden Girls’ 

Florals, animal prints, sequins, and glitter. Blanche Devereaux was the epitome of 1980s fashion. Bold and colorful. From hot pink to electric blue, she was undaunted when it came to throwing on a sparkly dress that hugged her hips just so — that spotlighted her “perky bosoms” (as she would say) to draw the attention of some refined upper-crust man. And, of course, she sported that short yet voluminous bouffant to add a degree of trendy sophistication. With statement jewelry — earrings that dangled to the collar bone and chunky necklaces — as well as exaggerated shoulder pads, she oozed confidence. The pads and eye-catching jewels only added to her empowered and intrepid disposition. 

Denise Huxtable | ‘The Cosby Show’

Denise’s style in The Cosby Show is best characterized as Bohemian Chic — reflecting the counter-culture influences of the era. She often sported loose-fitting clothing: oversized sweaters, flowy skirts, vests, and an occasional splash of well-paired layers. 

She also combined elements of ‘60s and ‘70s fashion — bell bottom pants, vintage prints and patterns, hippie/flower-child dresses — but added a contemporary ‘80s flair by combining multiple textures and accessorizing with ‘80s belts, jewelry, and footwear. Denise’s eclectic style perfectly complemented her free-spirited and creative nature. Just like she did, her style embraced non-conformity. 

Hilary Banks | ‘The Fresh Prince of Bel-Air’ 

Nothing but high-end designer fashion for Hilary. Her chic, tailored business suits were characteristic of the ‘90s professional woman. Yet, her outfits were colorful and bold, and always sported statement jewelry. Even in professional attire, she had to stand out in the crowd. Boring black from head-to-toe…over her Chanel-clad dead body. Try hot pink. Mustard yellow. Plaid. And the hats. The glorious hats. 

Her ensembles were always perfectly coordinated — spotlighting her fierce attention to detail concerning fashion. In geometric patterns, crop tops, and high-waisted bottoms, she captured the ‘90s with exhaustive precision, complementing her on-trend and confident persona. 

Fran Fine | ‘The Nanny’

Fran Fine’s wardrobe famously blended street style with high fashion. She would wear a form-fitting mini-skirt but pair it with a shoulder-padded, oversized blazer to create a look that was at once edgy and sophisticated. Provocative yet polished. 

Customary of the ‘90s, she also wore many a crop top and wasn’t afraid to expose her mid-drift while sporting form-fitting, wacky-patterned trousers or skirts — from piano keys and clouds in the sky to, of course, her signature leopard print. She always had a hint of leopard somewhere — from shoes to jackets, it became a characteristic part of her aesthetic. Fran’s offbeat and whimsical personality came through in her wardrobe because she would pair a designer label with quirky sunglasses or funky earrings. The unconventional combos made her a style icon who was unabashed concerning the dos and don’ts of style, and simply adhered to “works” and “doesn’t work.” 

Carrie Bradshaw | ‘Sex and the City’ 

What sort of style list would this be without mentioning the one and only Carrie Bradshaw? With the most unpredictable wardrobe — ranging from elegant and trendy to avante-garde and daring — Carrie’s closet in Sex and the City was a character unto itself. In each episode, viewers tuned in to see what would happen with Carrie, Samantha, Charlotte, and Miranda…and what Carrie would be wearing (alongside her classic Manolo Blahniks) as she narrated their shenanigans. One week it was a boho dress and button-up, the next it was a retro bikini top and surfer shorts. And then there were those groundbreaking l0oks — the earth-shattering get-ups like the iconic newsprint dress by John Galliano for Christian Dior or the flowy white tutu and tight pink tank top.

Carrie also combined high-end designer fashion with vintage thrift store finds, showcasing her unique fashion sensibilities and style fearlessness. She didn’t buy the item and imitate the catalog; she bought the item and did exactly the opposite of what the marketing team behind it would have advocated. Carrie’s fashion journey — changing across time — was also a road to self-discovery, empowerment, and expression.

Rachel Green | ‘Friends’ 

In slip dresses, plaid skirts, and crop tops, Rachel Green was yet another emblem of ‘90s fashion. Yet, more than her clothing choices, her haircut defined a generation. Now affectionately called “The Rachel,” it featured face-framing layers and feathered bangs with soft highlights and clean, blunt ends. If you weren’t rocking this haircut at the time, you were so irredeemably out of the loop. 

Rachel’s style also memorably evolved throughout the show, as she became more financially independent and self-assured. From the waitress look to the transition to corporate to the little black dress and, ultimately, more trend-setting looks (as she climbed the ladder at Ralph Lauren), Rachel’s style perfectly relayed her character’s development.  

Cookie Lyon | ‘Empire’ 

Cookie Lyon’s style sense in Empire relayed contemporary fashion while highlighting Cookie’s strong and dynamic personality. Cookie’s wardrobe was edgy, as she often sported bold and elaborate colors and textures. From leopard and cheetah prints to sequins and feather boas, her looks were attention-grabbing. She strutted her way down the hall, knowing everyone along her path was staring right at her. She rocked the flashy and extravagant side of 2010’s fashion. 

She knew how to carry streetwear but she also had elegant evening gowns and power suits hanging up in her divine closet. The versatility and diversity in her wardrobe perfectly captured her own multifaceted personality — wise, but at times reckless and daring. And who could forget all those bright lipstick shades, smokey eye makeup, and perfectly sculpted brows? From the fit to the face and the hair, she was always on point. 

Fashionable Mentions: 

• Serena van der Woodsen | Gossip Girl: Set trends with a mix of boho-chic, glamour, and elegance
• Olivia Pope | Scandal: Sophisticated power suits with bold statement jewelry created the perfect mix of badassery and refinement.
• Betty Draper | Mad Men: Classic 1960s style characterized by elegant A-line dresses and tailored suits. 
• Alexis Colby | Dynasty: Fur ensembles, shoulder-padded power suits, and eye-catching evening gowns made Alexis quite the queen of flair — which perfectly complemented her dramatic persona. 
• Kelly Kapowski | Saved By the Bell: Vibrant prints, scrunchy socks, high-waisted jeans, and fanny packs made Kelly a memorable figure when it came to teenage-aimed ‘90s looks. 
• Diane Lockhart | The Good Wife: With elegant blouses and modernized tailored suits featuring intricate floral blazers, Lockhart brought a whole new meaning to workplace attire. Professional meets pizazz. 

Romantic comedies remain a beloved genre for a reason. It’s all those serendipitous meet-cutes. The romantic gazes from across the ballroom. The unbelievable coincidences and the exaggerated emphasis on fate. We can’t get enough of the comedic cutesy moments that leave us grinning from ear to ear — waiting for our own fairytale love to come galloping in on a white stallion. 

If you’re a rom-com enthusiast looking to stream some new and classic rom-coms, Netflix has got you covered this September. 

‘Up in the Air’ | September 1

With just enough edge and compelling performances from its three primary protagonists — George Clooney, Vera Farmiga, and Anna Kendrick — this movie is a slick step above the everyday rom-rom thanks to deft dialogue, scrumptious twists, and well-delivered sentimentality. 

The film follows corporate downsizer Ryan Bingham (George Clooney), as he takes his young co-worker (Anna Kendrick) on tour to demonstrate the importance of face-to-face communication when preparing to fire employees. While mentoring his colleague, he arranges hookups with a fellow frequent flier (Vera Farmiga), but his feelings for her grow, and he comes to see others around him in a new light. 

‘Happy Ending’ | September 1

Happy Ending is a Netflix original Dutch film premiering on the streamer the first of the month. The premise is simple: Luna and Mink are celebrating their one-year anniversary, so everything is rainbows and butterflies, right? Wrong. Luna has been faking her orgasms since the beginning of their relationship. When her best friend suggests a threesome, Luna’s life is turned upside down and her relationship is put to the test. 

‘Love Again’ | September 1

Love Again — starring Sam Heughan and Priyanka Chopra — debuted in theaters earlier this year, and it has finally made its way to the streamer for proper couch-potato viewing. 

Mira (Priyanka), who is coping with the loss of her fiance, sends a series of romantic texts to his old cellphone number. With lines like “there’s an aching inside me,” she allows a moment of tender vulnerability to slip from her heart through her fingertips. There’s just one problem: a new guy has this number. Journalist Rob Burns receives the texts, and he’s captivated by Mira’s honesty, so he recruits Celine Dion’s help to figure out how to meet Mira in person. Yes, Celine Dion. He’s doing a profile on the superstar. It’s all so ridiculous and serendipitous. 

Though critics raked this one through the coals for its Hallmark-y vibes and stupefyingly predictable plot, Celine Dion is a treasure. Her voice and acting capture your heart when the characters fail to. Let’s be real, “It’s All Coming Back to Me Now” could save any film. 

‘Ehrengard: The Art of Seduction’ | September 14

From Academy Award, Golden Globe, and two-time Palme d’Or winner Bille August comes the Netflix original Ehrengard: The Art of Seduction — a prestige rom-com that follows a love expert appointed to teach the Grand Duchess’s timid son, as the title so aptly suggests, the art of seduction. Yet, the tantalizing teacher finds himself wrapped up in a scandal and romance all his own. 

Based on the novel Ehrengard by Karen Blixen, the trailer suggests a great deal of royal gossip and sensuousness akin to the likes of Bridgerton… maybe with a little less skin. Beautiful landscapes, horseback rides, quippy banter, and fencing. What could be bad? 

‘My Big Fat Greek Wedding 2’ | September 16

The 2016 sequel to My Big Fat Greek Wedding finally makes its way to the streamer in mid-September. 

Marriages grow stale and rebellious teenagers make for forks in the road when it comes to “Happily ever after.” In short, Ian and Toula are struggling as their daughter pushes against her Greek heritage and traditions. And to make matters more complex, a shocking family secret comes to light that brings the whole clan back together once more for an even larger wedding celebration. Though suffering from overwrought sitcom shenanigans and saccharine melodrama, it’s nice to see the characters reunite. It’s not the original, but it’s something. 

‘Love Is in the Air’ | September 28

The Netflix original Australian rom-com Love Is in the Air follows a pilot struggling to keep her family business afloat (or should we say up in the air?) who ends up falling for the very man who has been sent to shut her down.

The premise is a bit typical. Hopefully, the movie will pack a punch with some surprising narrative twists and compelling performances from our primary protagonists Delta Goodrem and Joshua Sasse. Will he leave behind the corporate world for her? Will her family inspire her to take to the big city and become a big bad pilot at a major airline? We’ll have to wait and see when this rom-com drops on September 28. 

The film follows a former couple who unexpectedly reunite decades following their split — when a storm leaves them stranded at the same airport. 

‘What Happens Later’ trailer breakdown 

The trailer opens with Ryan’s Willa and Duchovny’s Bill running into each other at the airport and engaging in a little small talk  — following the realization that it’s been at least two decades since they’ve seen one another. 

When their flights get delayed due to a raging storm, the conversation grows a little more intimate. The questions get a little more serious. The topics a bit more compelling. Kids. Family. Why did they split up? Did they want different things? Were their personalities not compatible? 

The facility proceeds to power down, and with the help of a little magical realism, they’re the only ones left in the airport as the intercom talks directly to them — answering their airport-related inquiries with an air of facetiousness. They laugh. They smile. They doubt. They wonder. They fool around. They ponder what could’ve been. And, of course, they dance under the snowy moonlight and ride those airport golf carts. It’s got all the necessary rom-com ingredients — it’s oozing with sugar and spice and we just can’t wait. So, what’s everyone saying on Twitter?

Fans are hyped for Meg Ryan’s rom-com return

"What Happens Later" – Official Trailer – Directed by & starring Meg Ryan, and David Duchovny. This film looks like good old RomCom fun. David Duchovny looks as sexy as usual, and Meg Ryan is still absolutely stunning. I can't wait! 😍 #DavidDuchovny #WhatHappensLater #MegRyan pic.twitter.com/HhjhmR3DP6

— The X-Files Child (@TheXfilesChild) August 30, 2023

🚨❤️👑🚨
👑MEG RYAN IS BACK IN A ROMCOM! https://t.co/3AmAGNvHqw

— Danny Pellegrino (@DannyPellegrino) August 29, 2023

Meg Ryan is coming to save Hollywood with her new romcom pic.twitter.com/axypVutayL

— asta (@lollasta) August 30, 2023

MEG RYAN AND DAVID DUCHOVNY SECOND CHANCE ROMANCE PLEASE I AM SEATED AND FUCKING HOW https://t.co/z38ZZE841T

— ✨ (@kanthonyily) August 30, 2023

MEG RYAN DAVID DUCHOVNY WINTRY ROMCOM INCOMING pic.twitter.com/LyLfk4ce8D

— meha (@chaipters) August 29, 2023

Well, my day is considerably brightened! New Meg Ryan rom-com, evokes the spirit of Nora Ephron, has David Duchovny? I am THERE. https://t.co/SlgqEyp22d

— MJ Samuelson (@mjsamuelson) August 29, 2023

Meg Ryan to rom-com fans; pic.twitter.com/0G1azXGikw https://t.co/RwWHi48f8K

— Just Amal (@bigmac_00) August 30, 2023

From what Iv seen everyone including me is excited about this one. #DavidDuchovny #MegRyan #WhatHappensLater pic.twitter.com/niF8yO3TIx

— Tansy Smith🛸👽 (@MRSTANSYADEL) August 30, 2023

Meg Ryan starting in a romantic movie. Nature is healing pic.twitter.com/rgBXffNqSy

— Emily Glaeser (@EmGlaze) August 30, 2023

meg ryan + rom coms pic.twitter.com/agXtXj7BxS

— rom com gifs (@romcomgif) August 30, 2023

Or, are you more of a ‘90s aficionado — with a bias toward gritty realism and glossy fantasies that delve into the dangers of technology, existentialism, and personal identity? From The Matrix and Pulp Fiction to American Beauty, there was a shared self-awareness throughline that seemed to define the ‘90s cinematic zeitgeist. 

If you’re looking to stream some ‘80s and ‘90s classics, Hulu has you covered this September. Yet, be sure to start binging the ones that are scheduled to disappear at the end of the month!

‘Se7en’ (1995)  | Coming September 1

The crime mystery Se7en — featuring an all-star ensemble, including Brad Pitt, Morgan Freeman, Gwyneth Paltrow, and Kevin Spacey — creates a dark and brooding atmosphere to dive into the twisted motives of a serial killer. The film’s use of the seven deadly sins as a thematic framework adds a moral complex to the suspenseful saga,  and it works to reflect that classic ‘90s exploration of societal decay and existential crises. 

‘True Lies’ (1994)  | Coming September 1

Who could forget Jamie Lee Curtis’s iconic strip tease in True Lies? The soaking wet, slicked-back hair. Those wild and seductive dance moves in black stilettos. The little displays of anxiety that hint at her inexperience and feigned comfort. It’s cinematic excellence. 

The film perfectly blends action-packed espionage with laugh-out-loud comedy, making it a rewatchable, high-octane Blockbuster from famed director James Cameron. The film also notably highlights family dynamics amidst the protagonist’s double life as a spy — adding a layer of relatability while examining gender roles and work-life balance in domestic relationships. 

‘Die Hard’ (1988)  | Leaving September 30

Is it a Christmas movie? Is it not a Christmas movie? Does it matter? It’s Bruce Willis at his badass finest. We love a lone hero taking on overwhelming odds (as did 1980s cinema). A single cop on a mission to thwart a terrorist organization in an ultra-confined space…we’ll suspend our disbelief and hop on the action-packed ride. Yippee Ki Yay, Mother F*cker. 

‘Father of the Bride’ (1991) | Leaving September 30

A Heartwarming exploration of family dynamics and generational shifts, Father of the Bride perfectly balances sincere, tear-jerking scenes with comedic reprieves. And, with help from a glorious Steve Martin, it seamlessly finds its way into our hearts and nestles there for all eternity. This is such a nostalgic and relatable viewing experience for so many, as it navigates what it means to let go and embrace the future. 

‘I Know What You Did Last Summer’ (1997) | Leaving September 30 

The ‘90s went full-fledged with teen horror movies. The Craft, Urban Legend, Scream, Disturbing Behavior, The Faculty. The list is endless.  I Know What You Did Last Summer is a secret-fueled narrative with heapings of teenage angst working to propel a dark and twisted mystery. Moral crises, accountability, the threat of retribution. It’s got all the ingredients to keep you hooked — even if it is a cheesy, by-the-book slasher. But hey, when you put on a teen-centric ‘90s fright, aren’t you hoping for a bit of ridiculous melodrama and spoofy sensibility? 

‘Mrs. Doubtfire’ (1993) | Leaving September 30

Back to family dynamics. This time, let’s center on the challenges of divorce and place a perfectly cast Robin Williams in the leading role to ensure the film is just as humorous as it is heartwarming. This father will go to any lengths to stay close to his children — he will cross-dress as a Nanny with a high-pitched Scottish accent to stay in their lives. He’ll cook. He’ll clean. He’ll make sure homework gets done. And he’ll do it all with vivacity and charm. Williams gets to do his shtick, and though the film may get overly sentimental at times, Williams knows how to get a laugh…over and over again at every turn.  

‘St. Elmo’s Fire’ (1985) | Leaving September 30 

A tale of post-college life, St. Elmo’s Fire follows a group of friends as they navigate reality after the safe confines of the educational institution. Dilemmas surrounding love, career, personal identity, and more surge to the surface in this coming-of-age drama. The movie spotlights the ‘80s adolescent’s pursuit of self-discovery as the children of the silent generation. 

‘Don’t Tell Mom the Babysitter’s Dead’ (1991) | Leaving September 30 

Don’t Tell Mom the Babysitter’s Dead centers on a group of kids forced to fend for themselves when their babysitter spontaneously passes away. The film is filled to the brim with outlandish hijinks and escapades reminiscent of the kids-in-control premise akin to Home Alone. The movie mixes humor with relatable situations to tackle themes like personal growth and the exploration of independence. 

‘Wild Things’ (1998) | Leaving September 30

Yet another provocative journey into deception, manipulation, and intrigue, Wild Things is a twisty-turny web of schemes that emphasizes the ‘90s fascination with scandalous storytelling. Think Cruel Intentions, Basic Instinct, and The Net. 

Themes of wealth, power, hidden agendas, and more come to a boil as unexpected alliances merge in this often-erotic neo-noir thriller chronicling the interactions between a hunky guidance counselor, a wealthy heiress, and a cunning police officer. 

Spoiler Warning for the And Just Like That…Season 2 Finale 

A brief season 2 finale recap to jog your memory… 

Let’s take a trip down memory lane and return to the distant past — August 24, 2023. Aidan tells Carrie to wait five years for him so he can tend to his teenage son — who desperately needs his presence consistently. (Carrie may be his greatest love, but his children rightfully come first.) Miranda and Steve reconcile, and Miranda takes to the BBC. Charlotte prospers in her new job — yet deals with some pushback at home. Seema meets a handsome movie star and falls in love. She merely needs to overcome her anxieties and deep-seated doubts and bask in the glory of romance. Nya rekindles a spark she felt with a stranger earlier in the season — who serendipitously happens to be the Michelin Chef preparing Carrie’s “Last Supper.” Lisa, who gets pregnant earlier in the season — and proceeds to worry about how it will impact her now-thriving career — has a miscarriage she blames herself for before relinquishing her guilt at Carrie’s extravagant dinner party. 

Got it? Good. With those closing moments in mind, what do we hope to see for our primary protagonists moving forward? 

Carrie mourns Aidan’s absence but ultimately decides to date

We cannot have a reboot or spinoff (or whatever word you deem suitable) of Sex and the City and leave the primary protagonist sexless and lonely for the remainder of its run. Aidan cannot expect Carrie to twiddle her thumbs in a city thriving with single, successful men who would be lucky to call the talented, insightful, and passionate fashionista their own. 

So, we hope to see Carrie struggle with Aidan’s absence but ultimately decide to reenter the dating world — maybe with a little foray into the likes of Bumble and Tinder (which would bring some much-needed levity into the situation, for we all know that app behavior is a far-cry from gentlemanly). Carrie may need to enter a bit of a fun phase – less class, more carnal — and take a page from Samantha’s playbook until she’s ready to seriously date again. (This may not be the most “Carrie” plotline, so it would require a substantial foundation and a heavy push from the sensuous and shameless Seema). 

Miranda and Steve learn how to successfully co-parent…and Steve meets someone new

Just as Miranda and Steve sink into a rhythm. Just as they become the parents Brady needs — divorced but united — Steve will meet a woman he can see a future with. It’s Steve’s turn for a new, meaningful relationship. And Miranda, as much as she has moved on from this marriage, will still face a little jealousy. She will witness the man he is when he’s in love…but from the outside this time around. She will watch the new woman receive the gentle touch she received from him all those years ago. It’s not that she wants him back, it’s simply that nostalgia and cozy memories have a way of leaving behind poignant pings.

A healing moment 🤍. pic.twitter.com/NZQz7xgtmY

— And Just Like That… (@AndJustLikeThat) August 25, 2023

Brady’s reaction to this can go one of two ways — super supportive, leaving Miranda feeling like the bad guy, or a bit hesitant and confused. We’re leaning toward the former given Miranda’s extra-marital affairs and harsh prior treatment of the man she married. Miranda may date the woman she met after the BBC spot, but we hope this doesn’t work out. Miranda should be single for a bit to figure out who she is, what she wants from romance, and what she needs in life. 

Charlotte’s career thrives, and the potential for an extra-marital affair falls in her lap 

The dysfunctional work-life balance dilemma facing Charlotte and her family will dry up, and we’ll need something to spice up her storyline. As her career thrives, let’s have a potential buyer enter the picture (pun intended) who is debonair and polished. Smart and interested in her work. A flirtatious one with an eye for brunettes. 

He will have a penchant for the finer things in life, and he will stand 6 feet, two inches tall with windswept black hair in a designer suit so perfectly tailored he could walk the red carpet. Now, we’re not saying Charlotte will go through with any extra-marital affairs, as such would be so antithetical to her identity. However, what’s more likely is that she will feel guilty for desiring him. She will need to talk with her girlies, for she will be fixated on her first emotional and sexual response to this stranger — let’s call him Alexander Newhouse (proper WASP). Charlotte will have to face the harsh reality that desiring other men is not a smudge on her status as a wife, but a natural human response. Yet, it will be a tough pill to swallow for the straight-laced, Betty by the book, rule-following, societal-norm-adhering Charlotte York. 

Seema and the movie star try long-distance 

Seema has never felt a pull so strong to a man as the one she feels for the movie star she has landed. There’s just one problem: he has to fly overseas to work on a production. He asks Seema to join, but she explains that she has never and will never sacrifice her career for a man. And her career is in the Big Apple. 

Because these two seem madly in love — and because money is not a question for them — they can give long-distance a shot. They can get on planes whenever they want — no matter the cost. While a long-distance relationship is hard for many, it’s easier when finances are not part of the dilemma. So, seeing Seema invest time and energy into this relationship is what we want for her. We want to see her fall so hard that she takes every reasonable step to make it work. If it still isn’t meant to be, then we will accept that. But giving up now feels like the wrong choice. 

Nya starts a passionate romance with the Michelin Star Chef 

These two have so much heat that Nya leaves Miranda to face the wolves (Che) on her own, so she can flirt with the handsome, talented man before her. The two of them even get a little flirtatious among all of Carrie’s guests during “The Last Supper.”

It goes without saying that we’re going to get a whirlwind romance between these two characters – with some mouthwatering dinners…and maybe some mouthwatering sex scenes. This relationship — for however long it lasts — will finally help Nya move on from Andre for good, as she comes to realize that her ex may have been a love of her life, but he is not the love of her life. 

Lisa’s career flourishes, and she steps in as one of Charlotte’s primary confidantes 

It’s time for Lisa to shine. Her documentary filmmaking skills are finally receiving the attention they deserve, and season 3 better continue to put her career in the spotlight. That being said, Charlotte and Lisa have gotten closer with each passing episode, and season 3 would be the perfect time for them to reach that “besties” peak — for Lisa to become someone Charlotte calls when she’s in a state of anxiety (instead of Carrie). Someone she calls when she needs someone with a life similar to her own: with a perspective rooted in a family structure that mimics hers — something Miranda and Carrie do not boast.

Not to mention, if the opportunity for an extra-marital rendezvous does wind up on the table for Charlotte, Miranda isn’t exactly the best person to ask (given her less-than-admirable actions) and Carrie — who has just lost Aidan after losing Big — may not be in a place to handle such dilemmas with objective clarity. It wouldn’t be out of character for Carrie to minimize Charlotte’s problems given Carrie’s current predicament and history. 

Will Anthony be clad in white by the season’s end? 

And as for Anthony, we have but a few words…He better try to put a ring on that hot Italian poet with an accent to make you swoon by the end of the third season.

While his new love interest is much younger, he seems mature and sexually experienced. He does not seem to yearn to sow any oats, and Anthony seems to have captured his heart…so much so that he’s willing to stay in America for him. Is anyone up for another gay wedding? This time, let’s take the cast to Europe in a two-part season 3 finale wedding extravaganza.

With And Just Like That season 3 still many moons away, we’ll just have to wait and see how many of our narrative hopes and dreams come to fruition.