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To 3D Or Not To 3D: Buy The Right Maleficent: Mistress Of Evil Ticket

Maleficent: Mistress of Evil with a pleading look towards Aurora

Just in time for the witching hour of Halloween, Maleficent: Mistress of Evil is here to cast its spell on those who want a little Disney villainy in their lives. And with a little bit of fairytale sorcery, there are always two things that can be guaranteed: a cost to pay for wielding such power, and a 3D conversion to bring those powers to life.

Which means it’s time to crack open the old spellbook and see if Maleficent: Mistress of Evil is worth the extra 3D cash, or if it’s something best left in the dark corners of Moors. If you’re curious about how we felt about the film itself, you can read our official review elsewhere. But if you’re ready to fly, let’s spread our wings and swoop into the details of this latest 3D adventure in a theater near you.

3D Fit Score

5/5

It’s pretty easy to peg a film in terms of how well it would fit into the world of 3D conversions, and Maleficent: Mistress of Evil is definitely a movie that could benefit from that treatment. With a full-scale war, magical realms of wondrous creatures that fly and float, and dark corners populated with secrets and creatures that could be positively eye-popping, the Maleficent sequel could make for something pretty impressive, with the right 3D approach.

Planning & Effort Score

3/5

Unfortunately, the approach to Maleficent: Mistress of Evil’s 3D presentation is not as exemplary as the film would have promised. The problems aren’t even limited to one section either, as several factors set the 3D version back quite a bit. Brightness definitely plays a part in that overall devaluation, but on top of that, there’s a really unbalanced level of Before/Beyond The Window action, as well as a bit of a concern for Audience Health that goes beyond mere screen dimming.

Before the Window Score

2/5

In terms of objects being thrown off of the screen, Maleficent: Mistress of Evil doesn’t land on a consistent level of disappointment, as the film does show in a couple of cases that it can project thrills outside of the window’s frame. Musket balls, arrows, and other weapons shoot out to the audience, but those are about the only notable features that really poke out of the film’s overall picture. One of those effects even causes a bit of a visual wonkiness, confusing the eyes in its execution, and that’s a shame, as there are quite a few moments in the film that could have used this effect to great extent.

Beyond the Window Score

4/5

Thankfully, Maleficent: Mistress of Evil doesn’t forget to add the depths to its Beyond The Window component, giving the audience a lot of lush thrills when it comes to seeing how deep this particular rabbit hole goes. Characters and their environments are separated to impressive degree, with a lot of close-up shots putting a premium on where the participants are standing respectively. But there’s a minor hiccup in the fact that some scenes feel deeper than others. In one moment, the picture feels endless, and in the next, it almost feels like the background stops short of that effect. For the most part, there’s a healthy depth to the picture shown on screen.

Brightness Score

3/5

You’d expect a certain degree of dimness to a 3D picture, as the glasses required to complete the illusion bring things down a notch. But if your theater doesn’t maintain or calibrate its equipment properly, the 3D presentation of a film like Maleficent: Mistress of Evil will be stymied from the word go. As the 3D effect for this particular equipment wasn’t turned on until halfway through the 3D trailers, the calibration was assumed to be a bit off, which in turn may have contributed to this showing of the film in question grayer than normal. The colors were a bit washed out, and even in scenes of full daylight, there’s was a noticeable dimming that went beyond just what the glasses provided. Maleficent: Mistress of Evil was still watchable, but some portions were harder to look at than others due to the dimness of this picture.

Glasses Off Score

3/5

Whether the picture is dim or not, you’re going to want to take your glasses off at some point to see what things look like without your glasses. At this point, you’d see a varying degree of blurriness on the screen, as that’s what helps manipulate the typically 2D image of a normal movie into a 3D presentation. Maleficent: Mistress of Evil definitely has its share of blurriness on screen, but through various points of the film, it feels like even that factor is varied. Linking to the slight problem of the film’s ability to draw depth, there are some scenes where things are really blurry to maintain the illusion, and others that aren’t as blurry and feel like they’re putting a little less effort into the mix.

Audience Health Score

3/5

When you mix the factors of fast-moving action that doesn’t let the audience’s eyes catch up to the 3D effect, and a dimness that goes beyond the standard level of gray added to the picture, you have a familiar recipe for eye strain. Maleficent: Mistress of Evil is a bit hard to watch, as the eyes tire between both of those twin factors of wonk, leaving the audience relieved when the experience is over.

3D Fit Score 5
Planning & Effort Score 3
Before the Window Score 2
Beyond the Window Score 4
Brightness Score 3
Glasses Off Score 3
Audience Health Score 3

Your mileage may vary with Maleficent: Mistress of Evil as a film itself, but as far as a 3D experience is concerned, the film lands off the mark it’s aiming for. If you’re a 3D fanatic, then you should at the very least seek a matinee screening that softens the cost for your day out. But if you’re only mildly curious, it’s suggested you either find a theater you trust with a 3D showing, or stick with the 2D version with this one. Either way, tread with caution.

How will you see Maleficent: Mistress of Evil?

Be sure to visit our full To 3D Or Not To 3D Archive.

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Serena Williams Is Speaking Out About Financial Abuse During Domestic Violence Awareness Month

Perhaps you’ve heard that one in four women will experience domestic violence in her lifetime. It’s a staggering statistic. Here’s the part you probably don’t know: 99% of those cases will involve some form of financial abuse.

Serena Williams wants to do something about that. In honor of Domestic Violence Awareness Month, Williams has partnered for the third time with the Allstate Foundation’s Purple Purse initiative to raise awareness around the rampant problem of financial abuse in relationships. “She is the embodiment of women’s empowerment,” Allstate Foundation senior program officer Ellen Lisak says. “We’ve been so grateful she has brought her influential voice and platform to our program to help elevate a national conversation around these issues that are so unknown to so many people.”

“When I signed up three years, I was really shocked by the statistics,” Williams told Glamour. “It’s basically every single case [of domestic violence]. When you think about that way, it’s like how did I not know about it? What can I do to bring my voice to it and talk about it?”

“I hope that people can learn the common signs of financial abuse and that if people are victims they know that there are resources like PurplePurse.com out there to help,” she continues. “I want people to know about the horrors of financial abuse.” Through her partnership with Allstate and Purple Purse, she’s had the opportunity to talk with survivors, something that has been very meaningful to her. “I feel really lucky to be among such powerful women,” she says. “It’s important for me to use my voice to support them and help tell their stories. Together, we can help other women.”

“Victims of domestic violence are often asked, ‘Why don’t you just leave?’ and what we found is that financial abuse is one of the reasons. We found that domestic violence happens to one in four women, regardless of race or socioeconomic status and 99% of those cases also involve financial abuse,” Lisak tells Glamour. “It’s is one of the main reasons that victims remain in or return to an abusive relationship.”

“It can take on many forms, depending on the situation, but some examples include when an abuser prevents a victim from working, or they really limit their access to money or credit cards, or they even intentionally ruin their credit,” she continues. “If you have bad credit you can’t get an apartment. If you’re not working, you’re not bringing in income and you’re kind of stuck in this vicious cycle.”

Jurassic World 3’s Laura Dern Is Seriously Excited About Playing Ellie Sattler Again

The Jurassic World series of films has always made a point to tip its cap to the movies that came before it, especially the much beloved original Jurassic Park. But things were taken to a whole new level when it was announced that the forthcoming Jurassic World 3 would not only see the return of Jurassic Park star Jeff Goldblum, who had a cameo in Jurassic World: Fallen Kingdom, but also Sam Neill and Laura Dern.

Laura Dern is an especially big announcement as this will be her first appearance in the franchise since that original film. Fans of the franchise are certainly excited to see the stars of the original film back again, but the truth is it sounds like maybe nobody is quite as excited for the return of Laura Dern as Laura Dern herself. She says she’s looking forward to seeing how the old and new stories will be brought together. She’s also looking forward to working with her old castmates once again. According to Dern…

Laura Dern’s comments to Total Film (via GamesRadar) reveal that she apparently doesn’t know much of anything about the story for Jurassic World 3 yet. The movie is set to film next year, and it doesn’t sound like Dern has seen the script quite yet. Either that or she’s so focused on keeping secrets that she’s acting like she hasn’t.

One assumes at the very least she has a general idea what she’ll be doing since she agreed to be in the movie in the first place.

From the moment it was revealed that Jeff Goldblum would be appearing in Jurassic World: Fallen Kingdom everybody wondered if we might see other original Jurassic Park characters appear, either in that film or the others that were coming. While nothing materialized for Fallen Kingdom, and Goldblum’s entire appearance was basically seen in the trailer, we now know that the trio will be reunited for real in the next film.

When Dern’s role was first revealed it was confirmed that the character of Ellie Sadler would be a major role in Jurassic World 3, not simply a cameo. While it was not technically confirmed that the same would be the case for Jeff Goldblum and Sam Neill, it stands to reason that the three probably will have similarly sized roles.

We’ll see the return of Laura Dern, along with Sam Neil and Jeff Goldblum, when Jurassic World 3 hits theaters in June of 2021.

Despite Campaigning For Years, Josh Gad Won’t Be The Batman’s Penguin

It’s been an exciting week for Matt Reeves’ The Batman. After sitting in development hell for a number of years and losing its original star/director, Reeves has finally begun assembling the cast and crew. A few exciting casting announcements arrived this week, with Big Little Lies‘ Zoe Kravitz playing Catwoman and Paul Dano landing the role of The Riddler. It’s still unclear who will be playing The Penguin, but one thing is clear: it won’t be Josh Gad.

Beauty and The Beast and Frozen star Josh Gad has become a household name, gaining a ton of followers on his social media accounts. For years, he’s been using his platform to campaign for the role of The Penguin in the DCEU, making his interest in the iconic villain known. Gad was recently asked if he might be in talks to play Oswald Cobblepot in The Batman, responding with:

Well, that seems pretty cut and dry. Despite his interest and previous campaign for the role, it seems Josh Gad definitely won’t be rocking an umbrella on Matt Reeves’ upcoming DC blockbuster. What a bummer.

Josh Gad’s recent tweet seems like an attempt to clarify the talks around his possible role as The Penguin, and hopefully end any rumors about his casting. The Tony-nominated actor was no doubt asked about that possibility plenty this week, as news has come out regarding the casting of The Batman. Matt Reeves is going for some A-List talent, with plenty of big names already attached to populate Gotham City.

For years, we’ve been seeing Josh Gad drop not-so-subtle hints about his interest in playing a live-action Penguin somewhere within the DC Extended Universe. The villain has been rumored to be a major presence in The Batman, making that blockbuster the most obvious choice. But it seems that it simply wasn’t in the cards, with Gad officially ending his campaign to play the iconic Batman rogue.

As far who will play Penguin in The Batman, that remains a mystery. It was recently revealed that talks between the studio and Jonah Hill have fallen through— although it’s unclear which role(s) he was being considered for. Additionally, Seth Rogen was another name tossed around, although no concrete talks happened with the Knocked Up star.

Josh Gad has certainly proven himself as an actor, both on the screen and stage. He’d no doubt bring a specific physicality to Oswald Cobblepot, had the actor The Secret-ed the role into reality. Although he’d have some big shoes to fill, as Penguin has already been brought to life in live-action a number of times throughout the years. But Gad clearly a fan of the comics, and you can access Penguin’s life on the page here.

First came the late Burgess Meredith rendition in the 1960’s Batman TV series. Danny DeVito had a particularly strong outing as Penguin in Tim Burton’s Batman Returns. And most recently, Robin Lord Taylor played the character for a whopping 100 episodes of Gotham. So whoever gets the part in The Batman will have to find a way to make a wholly unique interpretation of the iconic character.

You can catch Josh Gad in the highly anticipated animated blockbuster Frozen II on November 22nd, and The Batman will (finally) hit theaters on June 25th, 2021. In the meantime, check out our 2019 release list to plan your next trip to the movies.

5 Black Jeans Outfits: What To Wear For Every Style | Glamour

A faded pair of baby blue jeans gets all the credit (and Instagram love), but a black jeans outfit is just as reliable—and easy to put together. Take any outfit you’d wear with your favorite vintage denim and simply swap out the bottoms. Black jeans look just as sleek with a classic leather jacket as they do with louder trends of the moment, like tie-dye, cowboy boots and neon. This fall, it’s time to think beyond the plain white T-shirt and imagine all the ways you can wear this underrated denim style. Consider these five perfect outfits a start.

All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Lifetime Just Announced Four More Holiday Movies—Including One With Ashanti

Also this year, Hanukkah will be featured in Lifetime’s Mistletoe & Menorahs (which premieres December 7). It will star Kelley Jakle and Jake Epstein, and the plot goes something like this: “When a determined toy company executive, Christy (Jakle), must learn about Hanukkah in a hurry in order to land a big account, she enlists the help of her co-worker’s friend Jonathan (Epstein), who happens to also be in desperate need of turning his bachelor pad into a Christmas Wonderland to impress his girlfriend’s father. After butting heads, they realize they need each other’s holiday expertise and quickly appreciate one another’s cultures and each other. As they spend more time together, they realize they have more in common and a holiday romance lights up.” Can’t wait.

Courtesy of Marvista Entertainment

Then, in a Christmas Love Letter (premiering December 21), relationship advice columnist Amalie (Ashley Newbrough) receives an unsigned love letter and tries to solve the mystery of who sent it. Maybe she’ll find true love in the process? The film also stars Tilky Jones, Chanté Bowser, and Izzy Herbert.

Lifetime

Rounding out the new films is A Date by Christmas Eve on December 22, in which Chelsea, a good-hearted brand strategist for a popular dating app, discovers the app has given her magical powers. (Where’s that when I need it?) She uses her newfound ability to make all the “naughty” people in her life learn how to be good again. Of course, nothing goes as planned; and in a twist reminiscent of The Good Place, a kind neighbor is added to the naughty list, forcing Chelsea to fix things before time runs out. The film stars Vanessa Lengies, Evan Williams, Katherine Bailess, Julie McNiven, and Morgan Fairchild.

The First All-Female Spacewalk Is Happening Right Now

In middle school, I begged to go to Space Camp. In that week, I served as both the commander of a mission and participated in a all-female spacewalk simulation with another girl, among other amazing activities. I couldn’t have imagined then that it would take until 2019 for two women to do that same thing in actual outer space.

But at last, it’s all happening. As I write this, NASA astronauts Christina Koch and Jessica Meir are taking part in the first all-female spacewalk outside the International Space Station, where the duo will be replacing a faulty battery charge/discharge unit. (Women have done spacewalks before, but never together.)

You may remember back in March, NASA had to cancel this scheduled event for the most inane reason: The organization didn’t have two spacesuits that were sized to fit women and one of the women, Anne McClain, had to give up her spot to a man. “Anne trained in ‘M’ and ‘L’ and thought she could use a large but decided after [last] Friday’s spacewalk a medium fits better,” a NASA spokeswoman, Stephanie Schierholz, said in a tweet at the time. “In this case, it’s easier (and faster!) to change space-walkers than reconfigure the spacesuit.”

We are not over that, but at least now we can also celebrate these incredible women.

And since each is a person in her own right, NASA has even provided a handy way to identify who is who in the livestream.

“I think it’s important because of the historical nature of what we’re doing and that in the past, women haven’t always been at the table,” Koch said in a news conference ahead of the historic day. “It’s wonderful to be contributing to human spaceflight at a time when all contributions are being accepted, when everyone has a role and that can lead, in turn, to increased chance for success.”

Terminator: Dark Fate Red Band Trailer Is Full Of Violence And F-Bombs

The last two Terminator films, 2009’s Terminator: Salvation and 2015’s Terminator: Genisys both carried a PG-13 rating, the rating assigned to most modern action blockbusters that want to reach the widest audience possible. The franchise returns to its roots though this November with Terminator: Dark Fate, which will see the return of the original Sarah Connor Linda Hamilton, producer James Cameron and will have an R rating. The red band trailer for Terminator: Dark Fate embraces that rating and is full of violence and F-bombs. Check it out:

If there was any doubt that Terminator: Dark Fate would be R-rated, this red band TV spot puts that to rest. The general rule of thumb (although there are exceptions) is that a PG-13 movie is allowed to have one F-bomb and any more than that necessitates an R rating. Well, in this spot’s one minute and 19-second runtime, it goes right ahead and breezes into R-rated territory as we hear two F-bombs dropped. And they are both glorious.

Natalia Reyes’ Dani Ramos lets out a “Who the fuck is that?” upon seeing Sarah Connor and although she doesn’t know yet, she’s gonna learn today exactly who Sarah Connor is. And of course, as you would expect, Linda Hamilton’s character gets to drop her own F-bomb in a rare moment of levity.

Arnold Schwarzenegger’s T-800 tells Dani that he goes by Carl now, to which Sarah Connor responds “I’m never gonna fucking call you Carl.” It’s a funny moment that tells you a lot about Sarah Connor, and reminds you that she doesn’t view the Terminator as a person. He’s a machine and machines don’t get names; calling him Carl would humanize him and she won’t do it.

I’m sure these F-bombs are just a sample of what the film has in store in its over two-hour runtime. The cursing is befitting for a movie that is about the literal survival of the human race. Sarah Connor basically affirms as much at the end of the trailer by saying that if they don’t win this one, it’s all over. Hopefully they do win because James Cameron and company have a trilogy in mind if this film is successful.

Besides the F-bomb, this spot earns its red band with some brutal, bloody violence, in particular from Gabriel Luna’s Terminator. We don’t yet know his model number, but Mackenzie Davis’ Grace, who seems to be from the future, calls him the most lethal Terminator ever created which does not bode well given how near unstoppable the T-800 and T-1000 were before him.

We see that in practice too. In a scene that seems to be a bit of a nod towards the lobby scene from The Matrix, Gabriel Luna’s Terminator tells the guards as he goes through the metal detector that his whole body is a weapon. He then proves it by absolutely laying waste to the guards. There is a lot of blood and it’s splattering about as he cuts through human obstacles like a hot knife through butter.

The fights between Arnold’s T-800, Grace and the Terminator are particularly hard-hitting– and it looks like the heroes will be getting beat up a lot. The violence on display reminds you that the Terminator is a literal killing machine and Terminator: Dark Fate isn’t going to shy away from that. The R rating affords it the freedom to embrace it, which is exactly what you would expect and hope for from the director of Deadpool, Tim Miller.

Terminator: Dark Fate arrives in theaters on November 1. Check out our 2019 Release Schedule to keep track of all the big movies coming your way this fall.

How Laetitia Tamko Found Vagabon in Herself

By Max Freedman

Imagine writing and recording deeply personal songs you expect only a few people to hear. Then, imagine tens of thousands of people across the country hearing them instead. Then, imagine playing those songs, night after night, to ravenous crowds of those people, in city after city, for years on end. Sounds exhausting, right?

Laetitia Tamko, who performs as Vagabon, would know. Her invigoratingly scrappy guitar-heavy 2017 breakout Infinite Worlds reached more people than she ever envisioned, with accolades including Pitchfork’s ever-coveted Best New Music tag. She then toured the album for two years.

When she finished touring, she was more than just exhausted: She became so anxious and hesitant about continuing her musical career that she couldn’t bring herself to write new songs. “I would get home from tour and just put my guitar down. I didn’t want to touch it anymore,” Tamko tells MTV News.

But she wouldn’t dare give up that easily. To reignite her songwriting spark, she gravitated towards new instruments, especially ones she didn’t own, and took full control of her music’s production. “I would go to my friend Eric Littman’s house pretty often. He has a lot of gear that I don’t,” she says. “He’d show me around the synthesizers and how to patch in the sounds that I want. I would go there when I came home from tour with my laptop and my ideas.”

As a result, her self-titled sophomore album — Tamko’s first album for legendary Warner-owned label Nonesuch, a move she only half-jokingly calls “a flex” — could pass for the work of an entirely different artist if not for Tamko’s unmistakable singing voice, which is simultaneously round, bright, warm, and comforting, like the sun rising over a forest at dawn.

When writing the album, Tamko sought to, in her words, “touch things I didn’t know that well. That ended up being a keyboard and programming drums. The synths on [the album] are just what Eric had. I [still] don’t even have those!” Writing with such unfamiliar instruments proved pivotal for the album’s creation: “I’m constantly trying to tap into the naïveté I felt while making Infinite Worlds, when I didn’t consciously know what I was doing,” she says.

Compact, electronic instruments were also convenient. “Living in New York, you have to pay for a practice space to be loud,” Tamko says, and “when you’re constantly leaving, it’s hard to justify even paying rent.” Without a room where she could make her guitar shout, Tamko says that Vagabon became “an exploration of how to make music when I don’t have the space to be loud.”

Vagabon is thus entirely devoid of the overdriven power chords that defined Infinite Worlds. When Tamko does use guitars on Vagabon, they often take the form of finger-plucked acoustic notes couched in gorgeous, ambient synths, such as on the serene “In a Bind,” “Secret Medicine,” and “Every Woman.” Tamko credits these songs’ unclouded nature with her love of the “hammer-ons and pull-offs of African music,” which first introduced her to the guitar.

For the most part, though, the spacious, almost grayscale Vagabon is comprised of electronic elements. “I was doing a lot of exercises to get over my anxiety about making a second record,” Tamko says of her shift to electronics, “and I started maxing a mixtape, which was just looping a sample, just writing for the fun of it.”

She ultimately built the brass-flanked, pitter-pattering Vagabon highlight “Please Don’t Leave the Table,” which features close friends and fellow musicians Jay Som on trumpet and SASAMI on french horn, from a snippet she wrote during the Logic session that birthed the mixtape. The song showcases Tamko’s newly emphasized R&B and hip-hop influences, as do the pulsing bedroom pop of “Water Me Down” and entrancing dream pop of lead single “Flood.”

“I was really interested in drum- and vocal-forward recordings,” she says of the two genres’ impact on Vagabon. “On Infinite Worlds, I was really afraid of my voice. This time around, I wanted to really explore the different ranges and depths of my voice.”

Just as her voice does, the sounds comprising Vagabon traverse sonic palettes as readily as they cross mental states, reflecting the LP’s traveling origins. Across the album, Tamko manages the remarkable feat of cohesively uniting distinctly different styles — dream-pop, bedroom-pop, folk music, brass-heavy trap journeys — under one engaging roof. Although she visits all sorts of destinations, the path she travels among them remains perfectly clear throughout, just as on a tour.

Touring played a pivotal part in Vagabon‘s genesis. For most of the album’s songs, Tamko let the seeds of ideas she wrote while touring blossom into gorgeous, fully bloomed forms. Even when she got off the road, she composed with touring in mind: “When writing Vagabon,” she says, “I was thinking about what a one-hour Vagabon set looks like… and how I would like to tour an album.”

Among the most exciting new additions to Tamko’s live set are two songs she cites as the album’s theses. On “Wits About You,” after a cavernous chorus in which Tamko murmurs over lightly vibrating synths, she almost entirely silences these synths to uncompromisingly center her voice, which delivers a paean of inclusion and representation. “I was invited to the party / They won’t let my people in / Well then, never mind / We don’t wanna go to your function,” she whispers, sounding as strong as if she were roaring. Simply put, a space that doesn’t welcome the marginalized doesn’t truly welcome anyone.

The album’s other thesis, “Every Woman,” is far less electronic, boasting only synths that are ambient and easy to miss. Over a collage of warming, finger-plucked acoustic guitar and comforting intonations, Tamko stands up for her fellow marginalized people. “All the women I meet are tired,” she sings, later issuing a sweeping call to arms: “We’re not afraid of the war we brought on / And we’re steady holding down the fort.”

Of “Every Woman,” Tamko says, “I wanted to create that feeling that others have created for me where I’ve felt so seen, heard, understood, and stuck up for. In writing the song, I wrote it for me, but I wrote it for so many people.” She feels similarly about the near-silent midsection of “Wits About You,” for which she removed pretty much every instrument other than her voice because “I wanted to be very explicit in what my making music is all about, what I stand for, what I do, and why I’m doing this.”

Tamko didn’t want to remind just listeners of her mission. She also needed to remind herself why she makes music. In writing Vagabon, she ultimately countered her post-tour burnout and rekindled her passion, and one goal above all helped her stay grounded, even as she tackled complex topics: “I wanted to make songs,” she says, “that I can play for another two years and feel really happy about.”

Hulu’s Looking for Alaska Will Have You in Your Feelings

Every element of Looking for Alaska is in service to this unknown tragedy. Each episode provides new insight about Miles, The Colonel, Alaska, and the people around them. We learn about their addictions, their mental health, their family lives—all through an objective, non-judgmental lens that will make people feel seen. You soon get a picture of how these characters might react to a crisis.

“Much of this story is asking really important questions that I think all young people are asking that aren’t necessarily surface things,” Plummer tells Glamour. “I think that’s what was so incredible for me when I first read the book: I was reading a story about young people dealing with the idea of death and not really knowing what the answer to that question is. They’re really asking it and having real conversations and also being faced with it. I think everybody goes through that at one point in their life, where they lose somebody that’s really close to them or go through a really tragic experience.”

Everybody does experience trauma or loss at some point in their lives, but to go through that as a teenager is an entire thing altogether. It’s a strange stage in life when young people are asserting their independence for the first time but still have a ways to go. Looking for Alaska does an excellent job at tapping into what it’s like to process something so adult at such a young age.

“It’s just that point in time where you’re really owning up to the responsibility of, ‘OK, I’m going to be an adult now, and I’m going to have to get through things that are difficult,'” Plummer says. “I think the first time you’re really having to do that on your own, especially as an independent person, is always challenging and scary.”

Kristine Froseth in Looking for Alaska.

Alfonso Bresciani/Hulu

Adds Forseth, “Don’t judge a book by its cover. We’re all going through our own stuff. And having friends and having that support and ultimately reaching out for help is so important.”

Looking for Alaska is not without its moments of levity, though. Yes, there is a devastating incident at the center of it, but so much of what you’ll watch feels akin to a John Hughes movie. When Miles arrives to the boarding school, he’s looking for new experiences, and he finds them—and so do Alaska and the Colonel. Throughout the show they experiment with drugs, alcohol, and sex. There are breakups and fights and makeups, all the staples of what makes a compelling teen TV show. At times, the show is even funny—filled quippy lines and cheeky banter. It’s the complete package, really.