no spoilers – Pop Fiction Women

Here’s the story from HBO Max: As her life crumbles around her, a small-town Pennsylvania detective Mare Sheehan (Kate Winslet) investigates a local murder. The series explores the dark side of a close community and provides an authentic examination of how family and past tragedies can define our present.

NO SPOILERS in this review.

Here’s what works: Kate Winslet. We’ve never seen a character like this, and her performance is exceptional. She makes looking like a completely different person effortless.

Here’s what else works: the large cast of characters reflects a normal community and each storyline is developed so that you never know who or what are the red herrings. Some great acting all around, and some exciting young newcomers.

Here’s what doesn’t work: the large cast of characters can confuse at times, especially which kids belonged to whom.

Here’s what else doesn’t work: the ending. I mean technically it works. It’s explained well. I will tread carefully because no spoilers but I will say this: Mare treated the law like a buffet table where you can take some of one and leave the stuff you don’t want for the entire season, but then when the killer is revealed — someone who has reason to leave outside of the law — Mare is ALL about the letter of the law. I found it displeasing to me personally, but more importantly I found it inconsistent with the character we had come to know so well.

Pet Peeve No One Will Care About More Than Me: the wannabe Boston-ness. The in-your-face Philadelphia accents couldn’t distract from this wannabe Boston show. The setting looked too much like Boston. Mare actually says, “let the healing begin,” while in her therapist’s office. We all worship Good Will Hunting, but when set in Philly, using that line felt like stealing rather than homage. And then Mare’s best friend wearing a CitySports t-shirt in the last episode really pushed me over the edge. Someone wanted this show set in Boston but the studio said “Boston’s been done before, let’s do something new and exciting: Philly.” Wah-wah.

DON’T skip it if: you love family drama with murder mystery. It holds up as one of the best at what it is. It’s worth the seven hours.

DO skip it if: you only want to tune in because of peer pressure. In a month, Mare will be as forgettable as The Undoing.

This is a “sure, watch it” from me.

MADE FOR LOVE on HBOMax is the best show you may have missed this summer.

Here’s the story from IMDB: a young woman, on the run after 10 years in a suffocating marriage to a tech billionaire, suddenly realizes that her husband has implanted a revolutionary monitoring device in her brain that allows him to track her every move. The comedy series is a darkly absurd and cynically poignant story of love and divorce.

The HBO Max show is co-created by Alissa Nutting, author of the 2017 novel of the same name, but let me tell you, the show and the book are very different! Or the characters are the same, but the plot is perfectly tailored for TV.

NO SPOILERS in this review.

I’m going to focus on the show, which I deeply loved. It’s not really a secret that we love love on Pop Fiction Women, and this was my personal favorite flavor, that thin line between love and hate. We meet Hazel, played by the captivating Cristin Milioti (did you see the movie Palm Springs?), and Byron (played by Billy Magnussen, who I am ashamed to say I find so appealing in this show) — we meet them at a low point. He’s implanted a chip in her head, not because he’s evil, but because he wants to avoid miscommunication with the wife he adores. She is not happy about this, or anything, really, that has developed since Byron rescued Hazel from her dismal life of living in a trailer and missing her deceased mother.

Here’s what works: the exploration of marriage and the decision to divorce (or not). We get to see this couple meet and fall in love in flashback, we see the facade they keep up before the relationship breaks, and we see the awful things they do to each other to push each other away, and we see them stumble towards what might be next. The push/pull dynamic is incredibly relatable, even if their circumstances aren’t.

I don’t want to give too much away, but the epigraph at the beginning of the book fits perfectly: “The goals we pursue are always veiled. A girl who longs for marriage longs for something she knows nothing about. The boy who hankers after fame has no idea what fame is. The thing that gives our every move its meaning is always totally unknown to us.”

Here’s what also works: Ray Romano’s character as the town pervert and a shitty father. His sex doll “girlfriend”, whom he is fully committed to, feels slightly recycled from Lars and the Real Girl, but it works, particularly as his relationship damage is revealed. His role as a shitty father is hard to watch, especially when Hazel calls him out and he refuses to change, but it’s also honest and realistic. In real life most people get defensive when they are called out, they don’t plan a huge life change and write a big speech to win their slighted beloved back again. But they totally should. That’s why we love fiction.

Here’s what doesn’t work: there are two episodes (one and a half really) towards the middle/end that get a little slow. They lose the pulse of what really works: exploring the relationships that form us. Luckily they really get back on track to conclude the season.A treat that’s different from the book: the character of Fiffany (Noma Dumezweni) and the addition of Judiff (Kym Whitley). These characters are not connected in the show, and it’s never explained why names with T are replaced with F but I’m hoping the writers have planted seeds in our minds for a reveal in the second season (fingers crossed).

DON’T skip it if: you’re not a sci-fi fan. I am not, and I loved this show. The same way Wandavision isn’t just for Marvel fans, this show is not steeped in science fiction. The hook is about the extent of it.

DO skip it if: you are particularly unsympathetic towards a) people who misguidedly control things they love (Byron is controlling), and/or b) people who run away from problems they can’t confront (Hazel’s MO).

This is a STRONG RECOMMEND from me. And the show has been picked up for Season 2!

I’m fascinated to hear how she was involved in changing so much of her own story. Other adaptations that drastically depart from the source material (I’m thinking Little Fires, Handmaid’s Tale, Big Little Lies) have not included the creator in the development and the writers’ room. Does she prefer her book or the TV show? I have so many questions.