Karthik works in a software company. He falls in love at first sight with a girl Sruthi who attends his friend’s wedding. He gets hold of the phone number of the girl and while noting it down he makes a mistake. And he ends up calling another girl. Meanwhile Sruthi falls in love with Karthik’s colleague Madhu. The rest of the story is all about comedy of errors and how Karthik finds about his true love.
There’s no two ways about it — Bridgerton is horny. Shondaland’s newest venture- released on Netflix on Christmas- is certainly a spectacle to behold, just as the premise; essentially an Austenian, Regency-Era Gossip Girl, helmed by Shonda Rhimes, the reigning queen of steamy romance television. It would not be inaccurate to describe it as Jane Austen porn.
Magnolia focuses on how one’s childhood and trauma relate to their confidence and self.
Dead Poets Society relies on patriarchal tropes such as overbearing fathers, contrived brotherhood, and faux-individuality in order to portray its straight white male characters as oppressed.
In addition to the cast being delightfully diverse this time around, the film was just loosely-plotted and action-packed enough to keep a casual fan like myself entertained. While I do agree that the writing of Cole left much to be desired for an original character thrust into a preconceived universe, none of the characters seemed particularly fleshed out in terms of personality; however, I think that's to be expected when you're watching a film literally inspired by a video game.
The newest in a long line of Cinderella adaptations, Amazon’s Cinderella (2021) prizes girlbossification above the very story it tries to adapt.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
