Tuesday, February 28, 2017

Well That Was A Twist aka The Oscars Were Cuckoo

In an ending that maybe one risky gambler in Vegas predicted, both Moonlight and La La Land were named Best Picture last night. Although, it turns out it was not a tie or a joke, it was just one of the biggest flubs in live television history.

Once the mistake was noticed, the folks of La La Land welcomed (what turned out to be) the actual winners up on the stage - the talented group of people who made Moonlight.

So, how did this happen? That is the giant, smooth, gold man shaped question in the room.

After a night of wild speculation about rigged systems and conspiracies, a simple explanation was confirmed earlier today - there are multiple copies of every envelope (gasp!). Someone grabbed another Best Actress envelope off the "other" pile instead of the Best Picture envelope off the "no seriously, this is the real stack" pile. An honest mistake, but such a simplistic, seemingly lax system really breaks down the strict secrecy visage that led us all to believe that each envelope is held in a locked briefcase strapped to a body guard named Hank until the second the award is announced. Who would have known that there are extra award envelopes just falling all over the place backstage. Quite frankly, it is surprising that this has not happened every year.

Even if Warren Beatty had stopped the whole shenanigans and said into the mic, "Excuse me, this looks funny. Please God help me not look like an ass on TV," there still would have been quite the mystery to explain once a lady with a Britney Spears circa 2001 head mic ran out in a sweating panic to hand over the correct envelope.

Their names might be lighting up all the headlines today, but of course neither Beatty or his presenting partner, Bonnie GD Parker, aka Faye Dunaway, are to blame. After watching the clip for the millionth time (because the news could not stop replaying that shocker), it did seem like Beatty was trying to show the envelope to Dunaway to get a second opinion about its inaccuracy.

Now we know (Dunaway pay attention) the following: if someone is ever stalling and looks at you with an awkward smile and intense eyes, they are not making a joke, they are simply covering their panic and are looking for an out. Oh, and if someone hands you a card, always read what it says in your head before saying it out loud. Just some lessons you all can use the next time you present an award.

That twist ending could not have been more ironic for this awards season, a year which found people on Twitter early Sunday morning declaring their anger over La La Land winning Best Picture, hours before the ceremony even began. Now that the mystery behind that wrong envelope has been solved, everyone can move on and give it up to Moonlight for taking the top movie prize of the year! Who am I kidding - people are going to be talking about that mix up for the next century, but hopefully between all that bewilderment and gossip, more of this country will go soak up the stunning, emotional film watching experience that is the newly crowned Best Picture of the year. The last shot in the movie is so gorgeous it should be framed.

I am a huge fan of both movies that were called out as Best Picture last night, so all the immense (and I feel, totally unwarranted) hatred for La La Land was beginning to become infuriating. There was a deep passion behind wanting Moonlight to win (I was with you all), but why does another movie need to be cut down in the process? That negativity really bums me out, especially when 2016 was jam packed with movies sharing beautiful human stories about people from across this country and world.

All drama aside, I was thrilled that Moonlight was the real Best Picture. In the numerous years I have been trying to see all the Best Picture nominees before Oscar Sunday [A feat I finally accomplished! Stop, please, hold the applause!], no set of nominees have been more wonderful and memorable across the board than this year. Even Hacksaw Ridge, a movie I thought I would hate, was completely riveting in the last 45 minutes.

Going in knowing there was a grand assortment of flicks to choose from, it was honestly exciting to then see the awards nicely distributed between numerous movies. We all know it is annoying when a single movie wins all the awards (except for Titanic, because it is hard to deny that it is flawless). Six out of the nine best picture nominees won at least one award. Sorry Lion, Hidden Figures, and Hell Or High Water - you are still tremendous.

Specifically Kenneth Lonergan's win for Manchester By The Seas's screenplay had me cheering when it beat La La Land. After watching it two times through, it really sinks in how that movie's backbone is the strongly written witty, brilliant, and heartbreaking dialogue. All the characters feel simply natural, just like if they were your family, friends, or neighbors. 

We are also waking up in a world where Viola Davis finally has that statue in her hands. Her commitment on the highest level makes her a genuine welcome presence in anything. I get excited seeing her face pop up in those Vaseline commercials. In Fences she makes you feel the depths of her character's pain and happiness and is riveting the whole time she is on screen, even when she is simply crocheting and laughing out behind her house listening to her husband (Denzel Washington, in one of the finest roles I have ever seen him take on) tell stories . 

All of the winners are worth noting, but I can not leave this year behind without applauding Mahershala Ali's quietly powerful role playing a guiding light to a young boy, Emma Stone for winning in a role that leans on comedy more than the usually awarded intense drama, the beautiful, joyous, and invigorating music from La La Land, and Casey Affleck (albeit problematic in real life) who perfectly embodied the internal pain of, I will say it, the absolute saddest tragedy I have ever seen play out in a movie.

Aside from the honorees, the ceremony itself (hosted by Jimmy Kimmel) had some pretty enjoyable moments. One weird, yet delightful bit was the group of tourists that were grabbed off a tour bus and sent to parade past the front row of the auditorium and ended up getting enthusiastic hugs from Queen Meryl, among others. At first the lack of surprise on some of their faces made it all look staged, and then it all went on far too long to be actually planned.

I would rock ripped shorts, a light up fanny pack, and carry five selfie sticks on live TV if it meant I could get a hug from Meryl and Dev Patel. Nobody summed up all the shenanigans better than treasured NPR Podcast personality, Sam Sanders:

Now that the Academy Awards are over, this is the time when more of the movies will start being released for people to stream and rent in the comfort of their own home. Oh also, important message, the male cast members of Moonlight have become Calvin Klein models.

Okay, now I'm back after being extremely distracted. Anyway, I can not speak more highly about all the Best Picture nominees, even Hacksaw Ridge, which is far from a favorite, but it still has the story of an extraordinary real hero as its central focus. Some others, like Arrival, I'm still trying to unpack in my head after watching it several days ago.

From a musical to extreme drama and compelling coming of age story to sci-fi and a modern western - this year's nominees are a broad spectrum that represents many different movie genres. The package of each movie might look a little different, but at the heart of each one is a story about human life, dreams, and connection with others. Like Viola said in her acceptance speech, "So here's to August Wilson who exhumed and exalted the ordinary people." There are a lot of those ordinary stories left to tell.

In total, 62 movies were nominated for an Academy Award this year. I saw 20 before the awards yesterday - lets see how many more I can tackle next year. Here's to kicking off (hopefully) another wonderful year at the movies

Until next time!

Other nominee recommendations: The scene where Channing Tatum dances in a sailor suit in Hail, Caesar! (or watch the whole movie - although it is not a Coen best), Kubo and the Two Strings, The Lobster (!), Florence Forster Jenkins (Meryl + Hugh Grant are a delight), and Captain Fantastic (partial to those Pacific Northwest sights).

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Sunday, February 26, 2017

Winning Best Picture & Best Actress Is Rare: A Defense For Emma Stone and La La Land

We could talk about all the things La La Land has been criticized for endlessly, but I'm not here to discuss “mansplaining” jazz or the dancing prowess of actors who, in my opinion, flow pretty darn good together for not being professional dancers. I'm just here to talk about a set of very specific facts and data. Numbers and statistics – exciting, right? Compiling data can become very interesting if you start to recognize disparities.

As a person who is fascinated by female representation in all forms of media, certain facts that can be examined from past Academy Award winners have led to me aggressively rooting for Emma Stone and La La Land to walk away with Best Actress and Best Picture.

Many will argue that Moonlight is the better choice. I tend to agree, even though it is hard to make decisions when all the nominees are amazing for different reasons. Moonlight is an utterly transfixing movie that I would argue should win Best Picture this year, but it doesn't feature a Best Actress nominee, which makes it not fit into the data I am about to pass on. This would be a different article if Naomie Harris was up for Best Actress.

While it won't be a victory for racial representation, a win for Stone and La La Land would be a triumph in a different way, by adding one more movie to a certain small list.

Over the last couple years I watched each of the past Best Picture winners. There is a trend I quickly noticed, since I am a super trivia nerd who does a deep dive into the IMDB page of every movie I see. What I discovered is that it is rare for a movie to win both Best Picture and Best Actress. That combination has only happened 11 times out of 88 years. The movies on that illustrious list are:

Million Dollar Baby
Shakespeare In Love
The Silence Of The Lambs
Driving Miss Daisy
Terms Of Endearment
Annie Hall
One Flew Over The Cuckoos Nest
Mrs. Miniver
Gone With The Wind
The Great Ziegfeld
It Happened One Night

(By the way, all these movies are still worth watching.)

In comparison, over double the amount, 26 Best Picture winners, have featured the Best Actor winner:

The Artist
The King's Speech
American Beauty
Forrest Gump
The Silence Of The Lambs
Rain Man
Kramer vs Kramer
One Flew Over The Cuckoos Nest
The Godfather
The French Connection
In The Heat Of The Night
A Man For All Seasons
My Fair Lady
Ben Hur
The Bridge on The River Kwai
On The Waterfront
All The King's Men
The Best Years Of Our Lives
The Lost Weekend
Going My Way
It Happened One Night

(Most of of these are still great too. Just a recommendation – maybe skip A Man For All Seasons.)

These stats give off the impression that movies featuring impressive female performances in a leading role are not widely deemed extraordinary as a whole. This is clearly seen in that Stone is the only Best Actress contender who is representing a Best Picture nominee. In stark contrast, four out of five Best Actor nominees this year are from Best Picture nominees. (Sorry Viggo.)

When looking back though history, there were many opportunities for the Academy to award the Best Picture prize to the movie that also featured the Best Actress winner – they just didn't. When comparing
the winners from those years with the movies that could have won, it clearly reveals that movies with heavily male dominated casts often rule the biggest category on Oscar night.

First of all, A Streetcar Named Desire (with includes Best Actress winner Vivien Leigh) is a more
impressive film, top to bottom, than An American In Paris (the Best Picture winner from that year).
Here are some other oversights: Who's Afraid Of Virgina Woolf (featuring the Best Actress winner
Elizabeth Taylor) should have easily won over the bore that is A Man For All Seasons, Funny Girl
(with Best Actress winner Barbara Streisand) should have topped Oliver, and Moonstruck (with Best
Actress winner Cher) would have been a more memorable Best Picture winner when compared to the
long slog that is The Last Emperor. I would also choose Fargo (featuring Best Actress winner Frances
McDormand) over The English Patient any day.

Sometimes though, tremendous movies with almost completely female casts are pitted against each
other. In 2003, The Hours (which includes Best Actress winner Nicole Kidman) lost to Chicago. Since
I enjoy a beautifully depressing flick, I personally prefer weeping over Meryl Streep, Kidman, and
Julianne Moore tackling the work of Virginia Woolf, but it is hard to complain when The Hours lost to
a film like Chicago that has razzle dazzle and also features a large female cast.

Would this disparity end if more movies focused on women were produced each year? We can only
assume, but yes of course!

In 2013, it was reported that out of the top 100 films from that year, only 15% of protagonists were
women. This has directly effected the dominance of movies focused on male driven stories in the Best
Picture category. It seems insane, but not a single one of the eight Best Picture nominees in 2015
featured a story completely centered around a woman. (It is a slight stretch for a lead performance, but
you could say The Theory Of Everything did at least include a woman's story when the film shifted
some focus away from Stephen Hawking to his wife – wonderfully portrayed by Felicity Jones. At least
she was featured on the movie poster.)

While still not perfect, this year is a much better situation, where over half of the Best Picture nominees are focused around women in a lead or supporting capacity! This might have a little something to do with a recent report that found women film protagonists increased to 29% last year. Of course much more work needs to be done in regards to women of all races attaining leading roles, but at least this year the diverse list of Best Supporting Actresses are all from a Best Picture nominee. That is truly something to applaud.

Having not seen Jackie or Loving yet, I can't compare Stone to other nominees like Natalie Portman and Ruth Negga. All I can do is point out that Stone has that big fact of being the only Best Actress
nominee from a potential Best Picture winner. Let's get real though – the stats on her side is definitely not the only reason that makes Stone and La La Land worthy for winning big.

That movie's appeal to many (including the big fan typing these words) is the almost exclusively lighthearted story that blasts your mind out of the madness of reality and into a place where people dance and sing atop cars on jam packed freeway off ramps. As a person currently riddled with high anxiety over the state of the world, please, someone, take me to that place!

Although, it is not just the escapism that makes it a terrific movie. There is beautiful staging of performance scenes - set overlooking the hills of L.A. at sunset, down on a pier at twilight, or in brightly colored sound-stages on the Warner Brothers lot. Combine that with a bunch of toe tapping, instantly sing-a-long worthy songs and it is clear that this movie took a bunch of talented folks to pull off. It is dazzling to watch all the literal moving parts come together. The sheer creativity behind crafting a big successful modern musical is praise worthy.

Stone brings in her zany charisma and that makes her character delightful to watch. She succeeds at
having plenty of fun singing and dancing in the streets, but also at tackling emotional issues, like facing
the reality that the dreams you had for your life may not come to fruition.

Like I already mentioned, many have been critical of the star's musical talent, but I lean on the more supportive side to Gosling and Stone. Are they Adele, Beyoncé, or Celine powerhouse singers? No, but they carry a tune well enough for it not to be a distraction. I also felt like it was refreshing for a musical to have some scenes that felt more natural, as if they could actually be happening in real life. Stone gives a stand out performance that is an essential piece to one of the most lively and enjoyable movie going experiences I have had in years.

Even with all of that merriment on its side, the backlash has begun. It may not be “cool” to support La
La Land
, but when anyone makes you question your devotion to a film you loved, just think, a win for
the movie and Stone could be one more notch up for the girls.

Until next time.

[This is an update to an article published last year about Room and Brie Larson. It will probably continue to be updated until it is no longer newsworthy.]

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Saturday, February 11, 2017

A Real Completist

It's all happening! Someone at one movie theater chain finally figured out that showing all the Best Picture nominees over a single weekend was pure insanity.

This year Regal thought of a better idea, although AMC will still stick with their tradition of cramming the nominees into two short days. Regal theaters will be showing all the nominees over the ENTIRE week leading up to The Academy Awards. For $35 (plus tax, of course) you can buy a Festival Pass, which grants you access to a showing of each of the nominees. Well, I guess you could go see Hacksaw Ridge nine times, but why would you? So, it is a tremendously fun event AND a great deal! How often does that happen? (Check here to see if your local theater is participating. Hopefully it is.)

This genius move makes a lot more sense. Not even I, a religious movie devotee, would want to see nine movies in one weekend. This event  will also finally let me accomplish a goal I have never reached before - seeing all the Best picture nominees before the Academy Awards. Wahoo!

Having already seen four of the nominees (Moonlight, La La Land - twice, Manchester By The Sea, and Hell Or High Water), I might only end up using the pass to see five movies. Although, with the almighty Festival Pass in hand I will probably go for a couple repeat viewings just because I can. The heart wrenching story in Manchester By The Sea will likely stick with me the longest out of any of the nominees (basically unforgettable), but I am still deciding if I can sit through all those emotions for a second time.

Venturing out to see the Oscar nominated movies is not new for me. It is a tradition that goes back to fourth grade when I obsessed over Titanic winning 10 Academy Awards and that time my friends and I were, not surprisingly, the only 15-year-olds at a showing of The Hours on a Friday night in 2002. I am not sure why the fascination started, but it has followed me my whole life and led to me watching every movie that has ever won Best Picture.

If I learned anything from watching all the past winners in that category, it was this: throughout time, the Academy Awards end up representing more than just a frivolous salute to the rich and famous. Often the movies that walk away with golden statues showcase the feeling of our country during a certain time. These stories become a record of what people found entertaining, but also capture a snap shot of the culture's emotions.

When fears and uncertainty about WWII were high, people found their power supporting a triumphant tale where one woman ended up taking on a Nazi in her back yard (Mrs. Miniver). American pride was high in 1976 during the bicentennial, which could have been part of the reason that a tale of a down on his luck, turned champion boxer (Rocky), was the biggest movie at the box office and also won Best Picture. Last year's winner, Spotlight, a movie about the importance of hardworking journalism, came at a time when trust of the media was (and still is) waning, but it struck a chord by reminding us all why America thrives with our ideals about the freedom of the press.

What movie could possibly represent the present state of our culture? There is absolutely nothing of importance going on currently...

In the words of a gal from Beverley Hills, "As if!" 

Years from now people will look back on the Best Picture winner of 2017 and either wonder, "Wow! They needed a fun escape!" or "Wow! They wanted to rally behind a movie that celebrated the diversity of America!"

Those movies being the two - La La Land and Moonlight - that are most widely considered the front runners to be this year's winner.

Much of the reporting on this topic is already proclaiming that a win for La La Land will only be because Hollywood is obsessed with itself. However, its appeal to many (including the movie fan typing these words) is the lighthearted story that blasts your mind out of the madness of reality and into a place where people dance and sing atop cars on jam packed freeway off ramps. As a person currently riddled with anxiety over the state of the world, please, someone, take me to that place!

Although, it is not just the escapism that makes it a terrific movie. There is beautiful staging of performance scenes - set overlooking L.A. hills at sunset, down on the boardwalk at twilight, or in brightly colored sound-stages on the Warner Brothers lot. Combine that with a bunch of memorable songs that are instantly sing-a-long worthy and it is clear that it took a bunch of talented folks to pull off. It is dazzling to watch all the literal moving parts come together. The sheer creativity behind crafting a big successful modern musical is worth praise all on its own. I have seen it twice and, to be honest, I can predict it will become one I watch on a regular rotation for years to come.

Of course things always get tricky when each of the Best Picture nominees are tremendous. Moonlight is also an extraordinary film watching experience, but for different reasons than those directed towards La La Land.

The unique form, that sets up Moonlight as virtually three mini movies, is really striking in capturing the evolution of one character in his difficult struggles from childhood to becoming an adult. Each of the three actors (of wide age ranges) that play the different phases of the main character, light up the screen with emotionally raw performances. At several points I was brought to tears just getting lost in the wide, sorrow filled eyes of the youngest actor, Alex R. Hibbert. It is difficult to get across the plight of a character without words, just facial expressions, so those quiet moments with actors expressing a lot through very little is a real accomplishment in Moonlight. The themes of the story are also further elevated by gorgeous cinematography. Some scenes pop with bright colors and others will capture the beauty of a brightly shining moon sparkling on a dark ocean. 

While it may not be as fun to watch as La La Land, Moonlight is a quintessential modern American tale. The story highlights day to day experiences that are not always shown in movies, even though the events of the plot will look familiar to many people in our current culture. This is one important element of filmmaking - taking a look at our society and reflecting it back for us to contemplate. That alone is the main argument for why Moonlight should win Best Picture. Especially for those that find the best movie watching experiences are driven by powerful stories that are true to life.

Ultimately, judging La La Land against Moonlight is like comparing a cantaloupe and a raspberry - both are very tasty and beautiful fruit, but otherwise do not have much in common. This reason alone makes the task of choosing a winner basically impossible. That leads the way for the often annoying sounding, yet true statement, "It's just an honor to be nominated."

Once the day of the Academy Awards rolls around (February 26th), who knows, we could all be wrong! Maybe the nominee that has currently made the most money (Hidden Figures) will come out victorious. If that became the winner, our current culture would be declaring, "In 207 they cared about movies starring women!" Or maybe Manchester By The Sea will win, which would declare to future generations that, "They really needed to learn something from a person facing tragedies!"

It may seem like just another awards show, but whatever wins Best Picture is leaving behind a single clue in this wide and mysterious world that ties into who we are and who we were.

If you need me starting on February 17th you know where to find me - the movie theater. I will check back in with all of my Oscar marathon related experiences.

Until next time.

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Sunday, November 27, 2016

New Gilmore: Just What We Needed

[Heading out to a Gilmore Girls gathering this weekend and was told my outfit looked familiar...]

"I wanna remember it all. Every detail."

Life (just like for the rest of us in the real world) has continued on for the folks in Stars Hollow, Conn., the small, idyllic town featured in the now iconic television series, Gilmore Girls.

In the recently released four part cinematic explosion of a mini-series, Rory Gilmore has become a 30-something who is working out how to exactly express herself in her writing and profession, while also staying true to herself. As she uttered the line quoted above, Rory longingly moved into feeling nostalgia of her past mixed with keeping her eyes on the future. It is a line that really slugged me in the gut, mostly because my extreme sentimentality that frets over time flying by too fast, constantly causes me to feel sad when I can't remember what I ate last Wednesday. (Yeah, it's bad.) Emotional folks like myself would like nothing more than to just "remember it all". Everything, all the little things, including meals.

While it may be impossible to recall every second of every day, we can give it a good shot. We can be present and write all our experiences down in a journal or turn it into a wonderful story that captures those marvelous aspects of our daily lives. 

That has always been the real magic of Gilmore Girls. Through the years, this show has brilliantly told the stories of day to day life (just with a little more flair and definitely more hats). Big milestones are also shown, like Rory's graduation from high school and college, but more often the stories stay away from big flashy events, unlike the shows that are known for their yearly holiday themed episodes.

Gilmore Girls did try their hand at a delightful Thanksgiving episode (hilariously featuring Melissa McCarthy in full on drunk Sookie mode), but the rest of the stories are almost always focused around the moments in a year that normally go unmarked by festivities - television habits, conversations with people at your job or with your neighbors, and those weekly family dinners. These situations sometimes feel boring while they are happening, but those connections will inevitably be what most people will want to remember when looking back through the years. I know I already do.

Where the show uniquely shines is in how these life events, big and small, are captured. The writers and creators of Gilmore Girls have always known how to really create a moment you will remember forever. For example, no one could forget Lorelai solemnly settling in for A Star Is Born marathon (there are three versions) only to be surprised with a romantic gesture at her door while the quintessential Judy Garland number, "The Man That Got Away" plays in the background. Pure storytelling gold.  

This new set of episodes/mini movies of course include several of these brilliantly written and memorable moments, none which will be remembered more than a totally showstopping, purely magical montage scene that takes place in the middle of the town square set to "Reflecting Light" by Gilmore songstress Sam Philips. Many will remember that song was first featured during  Luke and Lorelai's waltz at his sister's wedding (another memorable Gilmore moment for the books). That song can cause tears to start flowing right when the first cord is struck, evident even now as I play it to set the perfect mood for writing these thoughts. It is a beautiful, haunting song all on its own, but cast against the world of these characters, as Philips' voice has set the tone for the entire series, makes those warm feelings start bubbling inside every time it's played.

This new scene is one that creator Amy Sherman-Palladino must have been planning in her head for years. With grand execution, it feels like both a magnum opus ode to the characters and town, and also a wonderful summation of her creative talents. It is beautifully choreographed to the point that it could be a music video that both Sherman Palladino and Lorelai probably dreamed about starring in during their 20s.

Needless to say what unfolds is a real wow moment that will be blowing fans away for years to come. Even if that is your only take away from the four episodes, the resurrected series was still totally worth the nine year wait. The scene is that good - I'm not exaggerating.

Some are voicing disappointments with aspects of the revival, mostly general hatred towards an extended musical scene at Miss Patty's and a few plot holes, like who wrote that letter that Emily was so mad about?  However, even with a few story missteps, I adored every minute of the Stars Hollow gang being back together. 

For me, a person who has been reeling over grief, change, and trying to make sense out of using my journalism degree the last of couple years, this series hit very close to home. So close that it kind of freaked me out.  

Finding connections with Gilmore Girls is not new, since, like other fans, I have always seen parts of myself in both Rory and Lorelai. That continues into the new episodes, where at this time in my life I completely understand each of the stresses impacting the three Gilmore women and the journeys they individually take. So much so, it feels like this series was created just to give me a personal pep talk. And it worked. 

You know when people say that things come into your life just when you need them? These new episodes of Gilmore was that for me and I will forever be grateful for the kick in the motivational pants. I can bet others out there feel the same way.

Many people will not personally connect to the main story points, but, like always, there is something in the series for everyone. Witnessing the brilliant comedic and dramatic stylings of Lauren Graham and Kelly Bishop again completely makes it worth spending six hours on the couch. Of course getting the entire gang back together again is delightful, but those two women back playing the roles that feature their talents at their best is a welcome sight that will hopefully earn them the awards that they have always deserved. 

Graham and Bishop perfectly embody how their characters are starting to feel the years passing by. That combination of nostalgia and change as the central theme of the new episodes is what gives this reboot its strongest attributes and really made it a welcome return to the world of television.

Strong emotions tied to the past are fueling the characters on Gilmore Girls, as well as nearly everyone watching the new iteration of the series. Well, those nostalgic emotions accented with Chinese food and Pop Tarts, if your viewing party (with others or solo) is doing it right. If you watched the series when it originally aired, it's impossible to not drag up feelings of  the "old days" where gathering on Tuesday nights with family or friends in living rooms (or dorm rooms, like I did for the final two seasons) was an essential part of a week. Even if you are a newer fan who binged it with the ease and beauty of Netflix over the last year or several months, you can still be smashed with nostalgia just through the lens of the characters, who we ha
ve witnessed growing up in a fictional land through the magic of storytelling. 

We can try like Rory to remember it all, but that first step will be to start enjoying the moment we are in now, a time where nine years after it ended, we were gifted with new episodes of a treasured TV show. On the scale of life, this is a small, yet essential moment that, just like the world of Gilmore Girls has taught us, is one worth celebrating.

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