Credit “Wedding Season” for not taking the easy opening. It takes a lot of confidence to start up an eight-episode season with an “I object!” moment. It’s how the show introduces us to Stefan (Gavin Drea) one of 2022’s unluckiest characters, and not just because his gambit to break up the wedding of Katie (Rosa Salazar), the woman he loves, is dead on arrival.
His hopes at whisking Katie away for a fairy-tale ending aren’t the only thing that dies that day. At the reception, Katie’s intended Hugo (George Webster) and a number of his family members keel over on top of their chicken/steak/vegetarian option. While she somehow manages to escape unharmed, Stefan is hauled into an interrogation room to share everything he knows about the woman suddenly leaving a trail of dead bodies in her wake.
There are glimmers in “Wedding Season” where you...
His hopes at whisking Katie away for a fairy-tale ending aren’t the only thing that dies that day. At the reception, Katie’s intended Hugo (George Webster) and a number of his family members keel over on top of their chicken/steak/vegetarian option. While she somehow manages to escape unharmed, Stefan is hauled into an interrogation room to share everything he knows about the woman suddenly leaving a trail of dead bodies in her wake.
There are glimmers in “Wedding Season” where you...
- 9/8/2022
- by Steve Greene
- Indiewire
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The rom-com is a genre that leans into the restoration of order. No matter how messy things are when we start, by the end of a tiny 90 minutes, we can count on the boy getting the girl or the girl getting the boy or — as things get more progressive — the gender/gender identity/sexual orientation combination of your choosing, provided that we reach “happiness.” It’s a genre that’s satisfying, but the potential for dull inevitability has encouraged storytellers to subvert expectations, upping the stakes on the screwball antics and challenging our notions of what “happy” endings even look like.
The rise of more close-ended stories on the small screen has been particularly fertile ground for rom-com subversion, with results ranging from brilliant (Netflix’s The End of the F***ing World) to forgettable (Hulu’s Four Weddings and a Funeral) to ambitious...
The rom-com is a genre that leans into the restoration of order. No matter how messy things are when we start, by the end of a tiny 90 minutes, we can count on the boy getting the girl or the girl getting the boy or — as things get more progressive — the gender/gender identity/sexual orientation combination of your choosing, provided that we reach “happiness.” It’s a genre that’s satisfying, but the potential for dull inevitability has encouraged storytellers to subvert expectations, upping the stakes on the screwball antics and challenging our notions of what “happy” endings even look like.
The rise of more close-ended stories on the small screen has been particularly fertile ground for rom-com subversion, with results ranging from brilliant (Netflix’s The End of the F***ing World) to forgettable (Hulu’s Four Weddings and a Funeral) to ambitious...
- 9/7/2022
- by Daniel Fienberg
- The Hollywood Reporter - Movie News
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