Returning: High Seas

  • Post category:Netflix

Glossy Spanish mystery High Seas (aka Alta Mar) returns to Netflix tomorrow for its third season.

After a year and a half in Argentina, the Bárbara de Braganza witnesses the reunion of the Villanueva sisters on a journey that will take them from Buenos Aires to Veracruz. Both have changed. Carolina owns another ship, and Eva is hiding a mission that she will carry out with Fabio, a Brazilian spy who wants to stop the scientist traveling aboard with a powerful lethal weapon. A new plot of mystery and espionage in which their lives will be at risk with new characters full of interest around the lethal weapon, who will not hesitate to kill anyone who gets in their way. 

Friday August 7 on Netflix.


Continue Reading Returning: High Seas

Doco based on Leigh Sales bestseller in NSW development funding

  • Post category:Netflix

18 NSW production companies have received development slate funding from Screen NSW.

They encompass a Jungle documentary based on Leigh Sales bestseller Any Ordinary Day, which details stories of resilience when people face the worst day of their lives.

Also in development are a high-end CJZ drama Filth, and documentary The Future of Cruising?, a paranormal drama from Bunya Productions, a sci-fi comedy Future Boy from Easy Tiger, The Mothers from Goalpost Pictures and Brown Skin Girl from Roadshow Rough Diamond.

Production companies hard-hit by the COVID-19 pandemic are the recipients of more than $1.7 million in funding through Screen NSW’s new Slate Development Fund.

Minister for the Arts Don Harwin said, “Support for our local screen industry is more important than ever. I’m thrilled to be able to announce this much-needed funding so NSW production companies can deliver on a wide range of new works representing Australia’s diverse stories, at a time when we need it the most.

“From projects that create opportunities for filmmakers in regional NSW, to the adaptation of a powerful story set in a women’s refuge centre, to stories that support our communities in western Sydney, the diversity and strength of projects supported will further boost the reputation of NSW as the leading State for screen creatives.

“I’m excited to reveal the high quality of the project submissions has resulted in more funding provided to the initiative enabling 18 production companies to deliver 66 projects. At the crux, it will generate employment for so many creatives in the screen sector whose future was, up until now, uncertain.”

• Bunya Productions – $100,000
With the support of this initiative, boutique feature film and TV production company Bunya Productions, will continue to develop content that amplifies diverse Australian stories and supports a range of creative practitioners. The slate will include a mix of established and new talent across a range of captivating quality dramas, including an adaptation of a powerful novel set in a women’s refuge centre and a gripping Western Sydney-based paranormal drama. Bunya produced the award-winning films Sweet Country and Toomelah by Warwick Thornton, and TV drama series Mystery Road.

• Buster Productions – $100,000
Buster Productions will create four new works for underrepresented communities, working with experienced professionals and emerging talent from various cultural backgrounds to offer a genuine opportunity to progress their careers. Projects include The Loop, a Western Sydney-based concept focusing on an Indonesian Australian lead, TV series Harry Chen and His Quest for Love will galvanize a group of LGBTQI+ creatives, established and emerging, to explore the journey of a young man’s quest for love with support from his heteronormative parents, The Sienna Felix Files – a Sci-Fi teen thriller for teens – will identify emerging talent in the Sudanese Australian Community and third-generation identifying emerging creatives to develop this project and finally Suing Santa, a project working with development producer Chase Lee, his first transition into the mainstream Australian production community. Buster Productions will engage in a strategic partnership with Information and Cultural Exchange (I.C.E.) to engage new creatives for The Loop and The Sienna Felix Files.

• CJZ – $84,000
Sydney-based CJZ – Australia’s largest privately-owned production company – works across genres with particular expertise in drama, comedy, documentary and factual entertainment. CJZ will use funding to support staff and freelancers to help progress projects such as The Future of Cruising?, a feature length documentary which takes a deep dive into the Cruise industry and high-end drama, Filth, based on the Hawkesbury River.

• Easy Tiger Productions – $100,000
Easy Tiger is an award-winning production company under the global Fremantle banner by producer Ian Collie, who previously ran the drama division of Essential Media. Easy Tiger’s credits include Rake (ABC), Jack Irish (ABC), Doctor Doctor (Nine), The Broken Shore (ABC), Sunshine (SBS) and The Principal (SBS). Easy Tiger’s funded slate includes Future Boy, a sci-fi comedy created by regional NSW writer Tristram Baumber with Emmy-nominated US comedy writer Jim O’Doherty (3rd Rock From The Sun); The Red Cord, a dual-female protagonist mystery thriller by NSW writer/creator Rachael Turk, an international co-production for the European market; and Pilgram, a mind-bending sci-fi from creators Josh Reed and Rob Gibson, which will shoot in Australia.

• Fremantle Australia – $100,000
One of Australia’s most successful creators, producers and distributors of scripted and unscripted content, Fremantle Australia will work with NSW creatives, both emerging and well-established, on several projects across a diverse development slate. Fremantle will prioritise the development of projects that maximise employment throughout NSW, nurturing TV and screen creatives in metropolitan and regional NSW through its collaboration with Screenworks in the Northern Rivers area of NSW.

• Goalpost Television Pty Ltd – $100,000
Goalpost Pictures, through its television arm Goalpost Television, continues its reputation for stories led by female creatives, with strong female protagonists – written by some of Australia’s top screen creatives, Jocelyn Moorhouse, Pip Karmel, Kaye Bendle & Keith Thompson. Pip Karmel (Total Control) is adapting Genevieve Gannon’s best-selling book The Mothers, for television; Jocelyn Moorhouse (The Dressmaker) is the creator and writer of the dramedy Empty; and Kaye Bendle (Small Claims) and Keith Thompson (The Sapphires) are the writers and co-creators of Natural Justice. The three very different series, all set in and around the suburbs of Greater Sydney, highlight major NSW talent, and will sit alongside Goalpost Television’s diverse and exciting slate created through their development deal with All3Media. The company is currently in pre-production on New Gold Mountain a four-part Revisionist Western series for SBSTV and All3Media.

• In Films – $100,000
In Films is a leading Australian independent production company, producing high quality entertainment for a global market. Since 2013, producers Ivan O’Mahoney and Nial Fulton have delivered ground-breaking content, including the AACTA and Walkley winning documentary Hitting Home and Revelation, a landmark three-part series on clerical abuse in the Catholic Church. Screen NSW’s Slate Development grant will help In Films employ over fifteen people across the development of five major projects, including three investigative documentary series, an arts factual series and a feature documentary.

• Jungle Entertainment – $99,578.14
The Screen NSW Slate Development Fund will enable 9 projects that draw on world-class creative talent including Nakkiah Lui, Niki Aken, Van Badham, Leigh Sales, Meg Mason, Sam Simmons, Trent O’Donnell and more. Content will range from prestigious dramas, savvy political satires, subversive rom-coms to ambitious works that aren’t afraid to tackle, deconstruct and satirise dramatic themes such as race, class and gender. More than half of the projects will be led by women, and as an entirely NSW-based production company, these projects will contribute more than 50 development jobs to ensure continued creative and financial success of the screen sector in these important times for rebuilding and recovery. Chloe Rickard, Jungle’s Chief Operating Officer says that the works in development are “absolutely thrilling, the depth, ambition, diversity, and prestige of the slate is a credit to the incredible creatives in our industry.”

• Lingo Pictures Pty Ltd – $99,998.00
Independently owned Lingo Pictures will utilise the Screen NSW Slate Development Fund to support the development of three TV projects, while creating jobs for six NSW writers. Owned by Helen Bowden and Jason Stephens, two of Australia’s most prolific and highly awarded drama producers, Lingo Pictures recently premiered The Secrets She Keeps starring Laura Carmichael and Jessica De Gouw on Network 10. The series has sold to the BBC and Sundance Now, among numerous other major international territories, and its premiere on BBC1 was their highest Monday night launch of the year.

• Made Up Stories – $100,000
The Slate Development Fund will support two new TV dramas and one new feature film from Made Up Stories. Made Up Stories is a development, production and finance company committed to creating content with compelling female figures squarely at the centre and enabling female directors, writers, actors and fellow producers to tell the stories they want to tell. Made Up Stories was founded in 2017 by Bruna Papandrea, the award-winning producer of the HBO series Big Little Lies, nominated for three Golden Globes Awards for its second season (and awarded 8 Emmy Awards, 4 Golden Globe Awards for its first season), and feature films including Wild, Gone Girl (over $365 million in worldwide box office). Jodi Matterson is Managing Director of Australia, partner and producer. Made Up Stories is currently in post-production on the film adaptation of the inspiring international bestseller Penguin Bloom from director Glendyn Ivin and starring Naomi Watts, Andrew Lincoln and Jacki Weaver and The Dry, based on the Jane Harper novel, from director Robert Connolly and starring Eric Bana. Their series Nine Perfect Strangers, based on best-selling author Liane Moriarty’s book, written by David E. Kelley and John Henry Butterworth, and starring Nicole Kidman and Melissa McCarthy for Hulu is currently in production in NSW.

• Matchbox Productions Pty Ltd – $100,000
Matchbox Pictures will develop three projects including an exciting new series from Louise Fox set in regional NSW, an adaptation of an award-winning and epic play spanning continents and generations, and a series penned by a renowned Sydney playwright about millennials living fast-paced professional lives caught in a maelstrom of gender, class, race and power.

• Playmaker Media – $99,000
With a renewed interest by international broadcasters in quintessentially Australian scripted comedy, Playmaker Media has embarked on a new authored and diverse slate of projects. The Slate Development Fund will further support each original series, which have been progressing during recent COVID-19 shutdowns with some of Australia’s most exciting emerging and proven scripted comedy creatives.

• Roadshow Pty Ltd – $100,000
Roadshow Rough Diamond is the teaming of John and Dan Edwards and Roadshow Films. Since their inception they have created the Logie and AACTA award winning mini-series Romper Stomper for Stan, Australian Gangster for Seven and Les Norton for the ABC. John and Dan Edwards are currently producing a new project commissioned by Stan, alongside producer Claudia Karvan. Roadshow Rough Dimond will develop three ambitious new projects with funding support from Screen NSW. From the exciting, fresh talent of Brown Skin Girl to a life affirming feature film with one of Australia’s most successful directors, Jocelyn Moorehouse, and lastly to the extraordinary true story as investigated by Kate McClymont AM of the rise and fall of notorious Sydney identity Ron Medich. Inspired by the hit stage show of the same name, Brown Skin Girl reunites writers Ayeesha Ash, Emily Havea and Angela Sullen who will be principal creators of the TV series to be co- produced with Roadshow Rough Diamond. Playwrights Sopa Enari (Who’s Poppin?), Grace Eather (Stingray Sisters), and Lillian Hannah U (Bangarra) will also join in the writers’ room. Dead Man Walking will team pre-eminent Australian investigative journalist Kate McClymont AM with Gregor Jordon’s sardonic wit to bring the murky world of notorious Sydney identity Ron Medich to television.

• Screentime Pty Ltd – $96,392.84
Screentime will develop three – each very different – projects included on its slate. The first project is a family, feel-good drama set both in harbourside Sydney and outback New South Wales. Another project is an Australian noir, located both in Sydney and just beyond the Blue Mountains while the final project is a nostalgia piece anchored in Sydney’s inner west and its city beaches. As well as providing jobs to NSW industry practitioners, each series will also open windows to NSW’s landscapes and stories. The aim in developing these projects further is to also provide opportunities to emerging talents from all backgrounds in varied fields.

• See-Saw Films – $100,000
The multi-award-winning film and TV production company will focus on three projects across See-Saw Films’ television slate. See-Saw Films produced award-winning films Lion and King’s Speech, TV Series Top of the Lake and Emmy award-winning show State of the Union.

• WildBear Entertainment – $41,068
From Hollywood to Australian underworlds, WildBear Entertainment is continuing to build its will diverse and global non-fiction slate. WildBear combines the skills and experience of respected producers Bettina Dalton, Veronica Fury, Serge Ou, Alan Erson and Michael Tear. An integrated factual entertainment company, WildBear Entertainment works across television, theatrical, corporate, educational, and government communications.

• Wooden Horse – $89,983
The NSW-based production company will continue to focus on development, expanding its slate of premium drama and comedy. Partners Jude Troy and Richard Finlayson are working across a broad range of diverse and provocative stories including a timely series about pride, ambition and loyalty that plays out on the streets of Western Sydney. This hip-hop drama series is a fascinating and urgent immersion in a vibrant sub-culture that is exploding across the local and global music scene. The series is written by Matt Okine (The Other Guy Season 1 & 2), and triple j Hip-Hop host Hau Latukefu with screenwriter Ben Crisp (Squinters) and Mt Druitt-based, emerging writer Winnie Dunn. Wooden Horse is also working on an online series for SBS from writers Fadia Abboud, Adele Vuko (Over & Out) and Amal Awad also set in Sydney’s western suburbs in the Arab community. Upcoming Australian productions include Foxtel and Sky Atlantic series The End, a second season of Netflix’s The New Legends of Monkey and feature film, The Unknown Man with Joel Edgerton.

Causeway Films also receives $100,000 for three feature films.


Continue Reading Doco based on Leigh Sales bestseller in NSW development funding

Kings of America to star Amy Adams

  • Post category:Netflix

Netflix has announced a new US drama Kings of America to star and be produced by
Amy Adams (Sharp Objects, Vice).

The series centres on the stories of three powerful women whose lives were inextricably intertwined with the world’s largest company: a Walmart heiress, a maverick executive, and a longtime Walmart saleswoman and preacher who dared to fight against the retail giant in the biggest class action lawsuit in US history.

Adam McKay (Succession, Vice) is attached to direct the first episode and executive produce, written by Jess Kimball Leslie (I Love My Computer Because My Friends Live In It).

Diana Son (Genius: Aretha, 13 Reasons Why) will serve as Showrunner and Executive Producer on the limited series.

Dates have not been announced.


Continue Reading Kings of America to star Amy Adams

Fearless: Yes, and Boundless

  • Post category:Netflix

Shows about lawyers defending clients wrongly accused of murder are a dime a dozen, on both sides of the Atlantic.  So are espionage shows in the U. K., in which the Americans are the bad guys.  Fearless had both of these characteristics.  The opening credits feature Margaret Thatcher, who was best friends with Reagan; Tony Blair, who supported Bush’s ill-conceived attack on Iraq; and even Donald Trump, who is a dangerous lunatic in just about any book.  But the British lawyer, Emma Banfield, was played by Helen McCrory, who was great on Peaky Blinders, so how could I resist watching this 2017 mini-series?

And I’m glad I did.  As Banfield defends her client, Kevin, stewing in jail for a murder he didn’t commit because he confessed to it, she and we unravel a complex plot with twists and turns and complexities that will keep you guessing until near the very end.   And, yes, although the Americans are mostly behind it, at least the lead American, Heather, is played by an American actress, Robin Weigert (all too often in these British shows you have an American character played by a British actor doing his best Robert Mitchum impersonation).   And you also have characters undergoing refreshing and justified transformations, such as an opponent turning into an essential and reliable ally.
But the heart of the series is McCory’s performance as Banfield, who manages to be tough as nails but always vulnerable, and at the same time.  Or, to shift the metaphor, Banfield wears her heart on her sleeve all the time, even when she steps into the ring, which is also all of the time.  That takes a lot of skill to pull off – in acting as well as reality – and McCrory does a fine job of it.
So is there a second season, with another exploit for Banfield, and further development of her difficult life?   Well, there should be, but I can’t find it.  So I’ll end this by making my customary plea to Netflix, Prime Video, and Hulu: pick this is up, if the original bankrollers are not up to it.   Emma Banfield is a memorable character, and we’d like to see more of her.


Continue Reading Fearless: Yes, and Boundless

“SVODs should pull their weight”

  • Post category:Netflix

Should Streaming services be forced to produce first-run Australian content?

That’s just one of the questions being considered right now as part of the government’s Supporting Australian Stories on Our Screens Options Paper.

The production sector and lobby groups representing writers, directors, actors and more are pushing for minimum levels to be enforced just as they are for Free to Air broadcasters.

But what do commercial broadcasters think?

Aside from agreement on removing drama, children’s and documentary sub-quotas, there is mild disagreement over whether SVOD services should be forced to adopt quotas.

Seven West Media says SVODs should “pull their weight.” ViacomCBS, which owns 10 and 10 All Access, urges caution arguing that the industry is still in a stage of growth. While Nine did not make a public submission (but is represented through Free TV Australia’s submission), Nine-owned Stan was also not in favour of minimum quotas.

Foxtel, which argues it is heavily regulated, noted new entrants are not incentivised to tell Australian stories.

Netflix, Stan, Prime Video, Disney+ in their joint submission argue that with the sector at an early stage, streaming services should be making a “meaningful contribution to the development and production of Australian content” (which includes development, co-production etc).  But they also recommended such principles be voluntary.

Apple TV+ did not make a public submission.

Here are several excerpts:

Seven West Media:

….if any quotas are to be imposed then we believe it is also time for SVOD platforms such
as Netflix, to also pull their weight. All commercial platforms with significant Australian audience
share and revenues should be required contribute towards Australian cultural policy objectives,
as is happening in Europe. The existing regulatory disparity was specifically identified by the
ACCC as creating competitive imbalance and should be addressed.

While we don’t think it is necessary for commercial broadcasters and online platforms to have
identical regulatory obligations, it is no longer appropriate that broadcasters are the only platforms
that bear substantial quota obligations, when an estimated 70% of Australians now subscribe to
one or more subscription or streaming services. Indeed, it could be argued that foreign based
content distribution platforms should have higher obligations than local commercial broadcasters
in respect of drama and children’s content because:

• children’s content and drama are key genres where audience migration to on-demand
platforms is highest;
• commercial broadcasters already bear an obligation that 55% of the content on their primary
channel must be Australian content;
• commercial broadcasters already contribute significant public benefit by their investment in
news and current affairs.

While an estimated 11 million Australians have access to Netflix, which is the largest SVOD
service currently in Australia, Netflix has very little Australian content. As noted in the Options
Paper, research by RMIT in 2019 estimated that Australian titles made up just 1.7% of Netflix’s
Australian catalogue.


It is our view that instead of imposing quotas, the Federal Government and regulators could, as a first step, seek regular voluntary reporting by SVOD providers (as suggested in Model 2) outlining their investment in Australian content and the creative arts industry. Such a reporting process would give a clear and transparent understanding of the role of SVOD platforms in supporting:

• Investment in the production of new Australian content;
• Investment in the production of other major foreign films and tv series in Australia;
• Licensing of new and existing local content for consumers both in Australia and overseas;
• Investment in local production infrastructure such as film and production studio services;
• Local job creation and flow on benefits to the broader Australian economy;
• The promotion of Australia and its culture in overseas markets.

The Government should also consider measures in the near-term that would incentivise SVODs to work with the commercial FTA TV broadcasters on co-production agreements. Such a measure would have positive outcomes for Australian viewers and would see more high-quality Australian content exported to viewers around the world.


Despite Foxtel continuing to provide high-quality Australian content and premier programming, the current landscape in which we operate has become increasingly challenging. Developments in digital technology now sees Foxtel in direct competition with subscription services whose business models and lack of regulation in the Australian market create particular advantages for such businesses in what should be a level playing field. International streaming services such as Netflix, Disney+, Amazon Prime and YouTube Premium offer low-priced subscriptions available worldwide which invariably increases their overall market share.

The ability to create and maintain their own content library of international brands on an exclusive basis as well as utilise Australia’s existing internet infrastructure has enabled such services to keep their subscriber base high and their costs low.The fast uptake of these services by Australian audiences is having a direct effect on traditional broadcaster revenues and causing major structural change in the landscape. The sheer scale of large global companies such as Amazon and Netflix means these companies are able to invest in and make premium content at rates that Australian platforms cannot match.

While Foxtel recognises the importance of providing viewers with content from a range of sources, it must be noted that there exists a perpetual imbalance in the landscape. In the current environment local broadcasters remain encumbered with regulation and requirements carried over from a time many years ago when Foxtel was among the few choices in subscription television and no longer reflects where we are now. As noted in the Options Paper, new streaming services are drawing in Australian audiences at a rapid rate, yet they have no reason to broadcast Australian voices, tell Australian stories or showcase an Australian point-of-view. Such businesses benefit from reaching Australian audiences however they have no obligation to support the Australian industry. As also highlighted in the Options Paper, Australian content continues to make up only a small percentage of the catalogues provided in such services.

Netflix, Stan, Prime Video, Disney+:

4. Each streaming service would be required to advise the Government of its investments and contributions to the Australian screen content production industry, provided on an annual basis over a three to five year period of time in recognition of near and mid-term investment plans. This advice should be able to be made in confidence where appropriate (for example, to maintain confidential licensing terms or where disclosure would damage a provider’s competitive position in the industry).

5. If it is determined that any company is not meeting these investment expectations, the Government should provide specific feedback to the company about where those expectations are not being met.

6. The Government would take into account all of the investment made by the streaming sector over an initial multi year cycle to monitor and assess whether companies were continuing to make a meaningful contribution to Australian content and creative industries, or whether more action was required. Government action could range from feedback to individual companies about their contribution (which could be given during the cycle if necessary), or a detailed industry review into whether regulation is required.


Continue Reading “SVODs should pull their weight”

Get Even Season Review: A Fun Mystery With A Twist

  • Post category:Netflix

What happens when four teenage girls come together to expose the wrongs of their peers?

Well, as it turns out, a whole heck of a lot.

Get Even starts hot and never cools down during its 10 episode run, as the core four girls go from vigilante heroes to being framed for murder overnight.

SPOILERS abound, so please mind this warning before venturing on!

Doing Research - Get Even

There’s a lot of teen fare out there these days, with Riverdale and Elite being two of the more popular offerings on Netflix these days. And Get Even has a lot in common with both. 

Bannerman School is like every other elitist private school you’ve seen on television, so it’s not exactly breaking the mold in that regard.

But you have to give the show credit for going all-in on just how much wealth inhabits the school with teachers and students alike driving up in ridiculously expensive sports cars daily.

But aside from wealth, there’s romance, drama, and death on display in the British import. What sets the series apart from other teen programming out there is the frantic pace of the story.

Ladies Meet - Get Even

Each episode clocking in at just under a half-hour leaves little room for unnecessary side plots and time-wasting scenes that add nothing to the overall plot.

Just tuning in to the first episode, it’s easy to assume this will be a show primarily about the ladies exacting revenge on a new target each episode. But things quickly take a turn when the boy they have next on their hit list turns up dead.

Ronny is an almost over the top villain, humiliating and hurting people seemingly for laughs. His motives aren’t revealed beyond that, and he dies before we ever get to learn anything else about him.

Ronny’s murder causes the ladies to pause their regularly scheduled programming of exposing bullies and creeps, and instead sends them on a quest to find the real murderer.

The murder mystery plays out throughout the season, with red herrings galore. But this isn’t just a murder mystery drama. At its core, it’s a teen show. And that means melodrama, with a side of more melodrama.

A Gruesome Discovery - Get Even

Each girl has their own storyline away from the main event, and each one is compelling in its own right, though some are more exciting than others.

As the leader of DGM, the girl’s name for their ragtag crusader group, Kitty is doing everything she can to keep her scholarship and protect people as best she can. She’s the heart of the group, but even she becomes disillusioned when it becomes increasingly clear that they can’t right all the wrongs of a cruel world.

Bree’s the quintessential bad girl, dealing with an absentee father while trying to avoid gym class at all costs. Bree gets all the witty lines and gets to be the one who breaks into houses and defies authority to show that she’s firmly against the privileged world she was born into.

Bree’s whole persona is to act as if she doesn’t care about anything, but there are a few people in her life, namely best friend John, who see past the snark and indifference. Bree shines brightest when paired with John, and it’s a shame the season ends with the two of them on less-than-stellar terms.

No Nonsense Bree - Get Even

Every high school needs a popular clique, and that’s where Olivia comes in, except, she’s hiding a pretty big secret from her classmates. Finding out she’s not as wealthy as her friends isn’t a shocking secret, but, surprisingly, she’s confided this bombshell in her best friend, Amber, who’s every mean girl stereotype come to life.

Amber serves as not only Olivia’s best friend but also her frenemy and potential love interest. Her relationship with Amber is more down than up, but when the two finally confront the feelings they’ve been dancing around all season, it feels earned.

Olivia’s decision to continue working on herself and not jump into something she may not be ready for is an excellent way of prolonging Olivia’s journey towards self-acceptance.

And lastly, there’s Margot, the tech wizard, who’d rather stay at home playing video games than attend the latest high school rager. Margot has the best arc of all the girls, as she works hard to be more social and embrace the opportunities that come her way.

Watching her find her voice and assert herself as every bit deserving of the friendship and love her peers enjoy, is a highlight of this first season.

Margot Relaxes - Get Even

There’s plenty of relationship drama, with all the girls having their fair share of romantic moments and some heartbreak sprinkled in.

The male characters aren’t as fully fleshed out because this story isn’t really about them. Though special shout-out to Shane, Bree’s pseudo boyfriend, who provides comic relief every time he pops up onscreen.

For as entertaining as the show is, not everything works all the time.

The girl’s decision to pop into bathrooms and classrooms and talk about the very illegal activities they’re engaging in is entirely at odds with how careful they are to only communicate via burner phones when not in person.

There’s also the ending, which makes sense and doesn’t at the same time.

Rex Smiles - Get Even

The killer reveal begins to formulate around the time of Mika’s death, and the series does an excellent job of throwing us off the killer’s scent.

Logan shows flashes of being emotional, but does he come across as an unhinged serial killer who’s determined to protect his best friend? No. Not even a little bit.

He seemed to share a genuine connection with Margot, but perhaps that was us seeing what we wanted to see because it was so refreshing to see Margot let down her guard. It’s Logan’s final words to Margot, though, that are particularly confusing.

A secret society involving the Bannerman adults isn’t far-fetched, but the reveal comes out of left field and remains in the universe with minimal reaction from Margot.

Logan Ponders - Get Even

What kind of society? Was Logan working on behalf of them? And why are they after DGM? All questions that go unanswered.

Things end on a hopeful note for the girls, who’ve caught the killer and managed to keep their identity a secret, but what happens next?

Here’s hoping we get a second season to continue exploring the inner workings of the Bannerman School. There appears to be a lot more story to tell.

Other Tidbits

  • Ed is a gem, an absolute gem who must be protected at all costs.

Kitty Thinks - Get Even

  • Donte may not have been the killer in this scenario, but I’m keeping my eye on him moving forward. 
  • The DGM motto is ridiculous and perfect at the same time.

If you’ve had a chance to binge the series, drop a comment down below and let me know what you thought about the season, and what you’d like to see in a potential second season!

Get Even is streaming now on Netflix.


Continue Reading Get Even Season Review: A Fun Mystery With A Twist

Umbrella Academy Cast Break Down Klaus and Ben Possession Scene | Netflix

  • Post category:Netflix

Robert Sheehan and Justin Min of The Umbrella Academy break down the scenes where Ben takes over Klaus’ body – and is finally vomited out.

Same weird family. New weird problems. The Umbrella Academy returns on Netflix.

Watch The Umbrella Academy, Only on Netflix:


About Netflix:
Netflix is the world’s leading streaming entertainment service with 193 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

Umbrella Academy Cast Break Down Klaus and Ben Possession Scene | Netflix

Blasted back in time to 1960s Dallas, the scattered siblings build new lives for themselves — until a new doomsday threat pulls them back together.

Continue Reading Umbrella Academy Cast Break Down Klaus and Ben Possession Scene | Netflix

Ratched | Official Trailer | Netflix

  • Post category:Netflix

You deserve someone to show you mercy. From the creator of American Horror Story, witness the origin of one of the world’s most iconic characters, Nurse Ratched. Sarah Paulson stars in Ratched, coming to Netflix on September 18.


About Netflix:
Netflix is the world’s leading streaming entertainment service with 193 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

Ratched | Official Trailer | Netflix

Continue Reading Ratched | Official Trailer | Netflix

The Sleepover | You Think You Know Your Parents? | Official Trailer | Netflix

  • Post category:Netflix

Get ready for a sleepover like no other! During a fun weekend sleepover with their best friends, two siblings discover that their seemingly normal stay-at-home mom Margot (Malin Akerman) is actually a former high-end thief in the witness protection program. When both their mom and dad (Ken Marino) are kidnapped and forced to pull one last job with an ex-flame of Margot’s (Joe Manganiello), the siblings must team up to rescue their parents over the course of one action-packed night that they’ll never forget. THE SLEEPOVER is on Netflix August 21.


About Netflix:
Netflix is the world’s leading streaming entertainment service with 193 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

The Sleepover | You Think You Know Your Parents? | Official Trailer | Netflix

Over one wild night, two siblings learn their overprotective mom is a highly trained former thief abducted for one last job — and only they can save her.

Continue Reading The Sleepover | You Think You Know Your Parents? | Official Trailer | Netflix

Ratched: trailer

  • Post category:Netflix

Netflix has now released a trailer for Ratched, a prequel to One Flew Over the Cuckoo’s Nest, coming in September.

The series from producers Ryan Murphy and Ian Brennan is created by Evan Romansky.

It stars Sarah Paulson as Mildred Ratched, Cynthia Nixon as Gwendolyn Briggs, Judy Davis (pictured below) as Nurse Betsy Bucket, Sharon Stone as Lenore Osgood, Jon Jon Briones as Dr. Richard Hanover, Finn Wittrock as Edmund Tolleson, Charlie Carver as Huck, Alice Englert as Dolly, Amanda Plummer as Louise, Corey Stoll as Charles Wainwright, Sophie Okonedo as Charlotte and Vincent D’Onofrio as Gov. George Wilburn.

In 1947, Mildred arrives in Northern California to seek employment at a leading psychiatric hospital where new and unsettling experiments have begun on the human mind. On a clandestine mission, Mildred presents herself as the perfect image of what a dedicated nurse should be, but the wheels are always turning and as she begins to infiltrate the mental health care system and those within it, Mildred’s stylish exterior belies a growing darkness that has long been smoldering within, revealing that true monsters are made, not born.

The series is executive produced by Ryan Murphy, Ian Brennan, Sarah Paulson, Alexis Martin Woodall, Aleen Keshishian, Jacob Epstein, Jennifer Salt, Margaret Riley, Michael Douglas, Robert Mitas and Tim Minear.

Friday September 18 on Netflix.


Continue Reading Ratched: trailer