Afterlife of the Party: An Exploration of Female Friendship
Netflix's Afterlife of the Party might fall into the rom-com genre, but it's much more about grief, strong female friendships, and platonic love than it is about romance.

The film begins with two crowds dressed in black, either walking left or right. Suddenly, a young person dressed in orange (symbolic of curiosity) enters the frame, with a question mark visible on the back of their clothes. After surveying the crowds, the orange figure decides to follow their path briefly, before turning away – revealing a lightbulb on the front of their clothes. Proceeding forward, the orange figure notices a space full of white blocks. They initially inspect them, before starting to build a small wall.
Netflix's Afterlife of the Party might fall into the rom-com genre, but it's much more about grief, strong female friendships, and platonic love than it is about romance.
Episode 3, entitled “Now in Color,” brings us to the 1970s — a decade full of vibrancy, color, and total mayhem.
A pop star at Radio City Music Hall gets the opportunity to change herself to save her music career.
Those saying it's a bad movie simply because it's bad as a slasher should be reminded that the likes of Jordan and Alexandra often don’t get their tales told, let alone in such major releases helmed by veteran actors like Bacon.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.