Volume 1
Review by Tatiana Miranda
Stranger Things finally returns three years later with its fourth season, split into two parts. Season four begins six months after the events of season three, with the leading characters now split up between Lenora Hills, California, and the familiar Hawkins, Indiana. The new setting comes with new characters and trials for those who reside there, but the main danger comes from Hawkins, as it often does.
Unlike its past seasons, season four of Stranger Things explores a horror genre separate from its sci-fi roots. The new season hones in on popular supernatural horror of the time, such as A Nightmare on Elm Street. Gruesome character deaths are reminiscent of Freddy Krueger's torment, and there's even a spooky boiler room scene. This new nightmarish style of horror is very different compared to the sci-fi feeling that Stranger Things fans are familiar with. While it still has elements of sci-fi, the presence of haunted houses and possible demonic possessions move the show into a new era of frights. The new changes to Stranger Things don't stop at the genre-bending, but it also continues to develop with the presence of new characters. One new character, Eddie Munson, is one of the most notable new faces. A clever representation of the weird kid trope and alternative subcultures of the eighties, Eddie is the Dungeon Master of Mike, Dustin, and Lucas's Dungeons & Dragons group. While his personality closely resembles Steve's goofy but tough older brother vibe, it's clear that he is not the story's hero but instead just a pawn to keep it going. Although that's not to say his scenes with Steve, Robin, and Nancy aren't extremely enjoyable to watch. 
Even more so than in the last seasons, the jumble of locations and storylines tends to get confusing and messy as the episodes go on. Where season three managed to get the hang of balancing out all the different groups, season four spreads itself thin, which makes sense why it is ultimately divided into two parts. Season four also marks the return of the same Russia plotline from season three, which takes up more of the season than it should as it is easily one of the most uninteresting parts of the entire series.
Volume one of season four of Stranger Things does as much as it can in its six episodes. Beyond bringing old friends and lovers together, it also establishes new bonds and growth for certain fan-favorite characters. For example, El's story goes beyond just her struggles in her new home in California since she also starts to come to terms with her past and what it's like to live without her powers. Max also particularly steals the show as she deals with losing her brother, Billy. This season's high school-centered subplots are utilized well by putting the characters in new predicaments outside of the supernatural, which makes the show's character-building even better than it already is. Volume one of Stranger Things season four begins streaming on Netflix on May 27th. All six episodes of volume one reviewed. Rating: 4/5
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Review by Tatiana Miranda  When the poster for the new Adrian Shergold film Cordelia dropped, many speculated it to be a sexy period piece starring Johnny Flynn and Antonia Campbell-Hughes. While the film does star Flynn and Campbell-Hughes, the image used for the poster is misleading as Cordelia is a psychological thriller, not a steamy story taking place in a historical setting. Yet the movie's misleading advertisement is the least of its faults. In its attempt to be a groundbreaking psychological thriller, Cordelia loses any tension or scare factor and instead turns into an awkward mess of wasted potential. The film follows the character Cordelia's (Campbell-Hughes) unraveling psyche as she grows close to her seemingly attractive neighbor Frank (Flynn). The first half of the movie teases an incident that happened twelve years prior, leading to Cordelia's intense PTSD and social anxiety. This contrasts the false sense of security she feels when she's with Frank. Cordelia's trauma-filled passivity makes her a boring titular character who continuously makes the worst imaginable decisions. Meanwhile, Frank has the potential to be a charming, helpful neighbor turned lover who has secrets of his own, but his character development is rushed through and, therefore, lackluster. When Cordelia finally reveals what happened to her twelve years ago, the reveal is underwhelming and overshadowed by the chaos of everything else happening in the movie, which is surprising since so much of the beginning of the film focused on teasing the cause of her PTSD. Several other reveals meant to be shocking are given screen time for the characters to digest. Although it almost gives them too much screen time as the audience is forced to watch Cordelia pointlessly sob over multiple revelations throughout the movie.  While Flynn and Campbell-Hughes have interesting chemistry together that makes the reveal of their respective motives exciting to watch, it is due to their acting skills and not the film's writing from Adrian Shergold and Antonia Campbell-Hughes. The dialogue is often pointless and runs in circles repeating the same concepts. For example, there are only so many times someone can understandably bring up the fact that they suffered a mysterious traumatic incident twelve years earlier. The time spent on pointless dialogue takes away from the time Cordelia could've spent creating trust in certain characters, making later reveals much more shocking.
Sometimes the genre of psychological thrillers gets mixed with the goal of creating a nonsensical movie that leaves one feeling uneasy, and it's clear that's what Cordelia intended to do with open-ended storylines and plot holes. Instead of leaving the audience uneasy and questioning what really happened, it just leaves you confused and aggravated. While Cordelia certainly has some intrigue, namely its poster, it is ultimately a movie worth missing out on. Cordelia begins playing in theaters and on demand on May 20th. Rating: 1/5 Review by Tatiana Miranda  Book-to-show adaptations typically have the unfortunate standard to both be true to the original as well as create something unique in regard to television. This is the case with the new Hulu series Conversations with Friends, which is based on a book of the same name by Sally Rooney, author of another book adapted by Hulu, Normal People. Both shows are directed by Lenny Abrahamson and written by Alice Birch, so stylistic similarities between them are bound to appear. Rooney’s classic miscommunication trope and pensive characters are key aspects of the series, both are qualities that made Normal People so special but are the cause of several flaws in Conversations with Friends. Conversation with Friends follows Frances, a student in Dublin and spoken word poet, and her best friend and ex-lover Bobbi as they grow close to older married couple Melissa and Nick. Friendships and romantic affairs explore what it means to love someone and what it’s like to be in a variety of relationships. Ultimately though, it is a very awkward love story between Nick and Frances, similarly to that of Normal People’s Connor and Marianne. Yet, whereas the awkward relationship in Normal People is still attractive in its own way, Frances and Nick never reach the point where awkward turns into admirable. The series’s fast pacing to get to the start of their relationship leaves hardly any time for interactions between the two and gives them little to no chemistry as they have their first kiss.  While lack of communication is still apparent in the book, the series takes it to an extreme, opting for quiet, mundane scenes of character study instead of interactions between characters that allude to inner emotions. Nick and Frances’s quietness makes them ultimately uninteresting characters compared to their counterparts Bobbi and Melissa. This is especially ironic as Bobbi points out later in the series that she is not any more interesting than Frances. As the main character, Frances is not what one would normally expect, as she is extremely passive and mundane. In the book that is what makes her so interesting, as her inner thoughts counter her outward actions, but the show adaption lacks an exploration of this duality, although one can be glad that it doesn’t utilize a voiceover as other book adaptions often do.
The exploration of Frances, Bobbi, Nick, and Melissa’s communal relationship is a very interesting one that differs from the monogamous relationships that perpetrate much of literature and television, yet, it is hindered by the poor pacing of the show. Beautifully done intimate sex scenes and philosophical interactions between friends mix with poor bouts of dialogue between lovers and repetitive moments of very silent introspection that drag on unnecessarily. While Normal People’s leisurely pacing is one of its highlights, in Conversations with Friends it drags on and becomes repetitive and uninteresting, much like the series’s characters. Conversations with Friends takes on a lofty challenge to match the hype of Normal People as well as adhere to the source material, and its achievement in matching both book and series predecessor is what ultimately makes it a flawed show, as Conversations with Friends and Normal People are inherently different structurally. Whereas Normal People features two main characters that the series can focus on and utilize to balance out stylistic pensive moments, Conversations with Friends is centered on Frances, leaving its pensive moments one-sided and therefore repetitive. Conversations with Friends begins streaming on Hulu on May 15th. All twelve episodes reviewed. Rating: 2/5 Review by Tatiana Miranda  Apple TV+'s latest series, Shining Girls, is a lofty amalgamation of sci-fi, thriller, and mystery based on the 2013 novel by Lauren Beukes. The plot centers around Kirby Mazrachi, a research assistant in Chicago who was violently assaulted six years earlier. Through her connections at work and a recent murder that mirrors her own assault, she begins to piece together a series of murders that span decades and warp her understanding of time. Kirby, who is played by TV drama veteran Elisabeth Moss, is a resilient character who overshadows the rest of the characters in the show. Her partner-in-crime, reporter Dan intends to be more than he ends up being, and his final moments in the series are lackluster as a result. While their dynamic is crucial to Kirby solving the mystery of her assaulter's identity, Dan is primarily just a device to Kirby instead of being his own developed character. Other characters in the series, such as Philippa Soo's Jin-Sook, don't appear important during their introduction, but their presence becomes imperative to the storyline as time shifts. Shining Girls's multi-dimensional storyline is both its saving grace as well as its downfall. It bends the usual detective/thriller story and aids in characterizing Kirby's trauma response to her assault. As her health and career are derailed by injury, so is the rest of her life as she loses experiences with those she loves and turns into someone she doesn't know. While being a great vehicle for the story of Kirby's growth, time travel in the series is also captivating as she tries to catch Harper, the villain of the story, as he slips through time and away from her.  Compared to the novel by Beukes, Shining Girls harps more on the mystery aspect of the storyline, allowing the audience to get inside the head of Kirby. As she unravels Harper's actions, so does the audience. This is a beneficial derision from the book, but it takes up time and hinders the show's pacing. By episode six of the eight-episode season, the truth of the aspects of time travel is finally revealed, but they are done so in a singular episode. This episode is primarily a series of flashbacks focused on Harper that feels out of place with the rest of the series. While this episode goes into how time travel works, the show later fails to explain the multi-dimensional aspects or Harper's motives beyond his general hatred of women.
Shining Girls takes its time, with each episode spanning about an hour, yet it ends with much more to be desired. Since Apple TV+ presents it as an ongoing series, there is a chance for any unanswered details to be developed later, and perhaps a season two will improve upon some of the flaws of this season. Shining Girls premiers on Apple TV+ on April 29th with new episodes released subsequent Fridays. All eight episodes reviewed. Rating: 3/5 Review by Tatiana Miranda  Starring Keira Knightley as the titular character, Charlotte follows the true story of German-Jewish artist Charlotte Salomon. This animated film captures her life and artwork with the backdrop of Nazi-occupied Germany, envisioning Salomon’s loves and losses through a 2D animated format reminiscent of her self-portraits. While the stylistic choices of Charlotte are simpler, utilizing a more traditional style of animation in 2D, it is the best choice creatively to showcase Salomon’s works within the film, which are more expressionist. Still, Salomon’s paintings of herself and other individuals are simple, with mere lines to distinguish a mouth from a nose. This style is similar to how Charlotte presents its subjects, a clever way to honor Salomon’s artwork without turning the movie into another version of Loving Vincent. Based on her posthumously published autobiographical book of paintings, Life? or Theatre?, Charlotte focuses on the development of the book instead of being an animated version of the book’s contents. From the beginning of the movie, it’s clear that this isn’t an animated movie made for children but an art-driven historical film about a doomed artist and her greatest artistic achievement. Charlotte is a movie about the violence she faced while in Germany as a Jew and a depiction of the explicit love she shared with both Alfred Wolfsohn and Alexander Nagler. Co-director of Charlotte, Tahir Rana, states how he believes that “…more and more filmmakers are embracing animation to tell more and more of these adult stories” and that it’s a prime version of storytelling for stories with emotional journeys.  Although Charlotte Salomon’s artwork and life are interesting as they existed during one of the most terrifying moments in history, it is also a fascinating look at mental health and generational illnesses. Salomon’s matriarchal lineage is filled with depressive episodes and subsequent suicides. The movie even opens up with this fact as it showcases a young Charlotte trying to connect with her depressed and unresponsive mother. Life? or Theatre? displays Salomon’s mental health as she grapples with depression. While the movie doesn’t explicitly showcase Salomon’s illness separate from her conditions during World War II, it does make it clear that it isn’t just a story about the time period but also one about a talented artist who faced her own issues beyond the Nazi regime.
Charlotte is an astounding piece of cinema that captures the life of artist Charlotte Salomon in a unique and intriguing way through animation. Keira Knightley and the rest of the cast add to the simple animation to make the storytelling more vibrant and full of emotion. The end sequence of a landscape beyond the action of the scene as we hear Salomon and her husband, Alexander Nagler, taken away by Nazis is a heartbreaking finale that exhibits the extraordinary blend of audio and visuals that this movie possesses. Charlotte is released in select theaters on April 22. Rating: 5/5 Review by Tatiana Miranda  The first season of the Emmy-winning Netflix series Russian Doll takes a unique approach to a Groundhog Day-inspired story. Natasha Lyonne’s character, Nadia, is stuck reliving her 36th birthday repeatedly due to her selfish actions and untimely death. The eight episodes conclude with a seemingly happy ending as Nadia and her partner-in-crime Alan return to the linear timeline they’re familiar with, both changed and coming to terms with what they’ve learned during the experience. The second season features the same beloved characters but adheres to the sci-fi genre in a different aspect than the first season did. Instead of suffering from a day of do-overs, Nadia and Alan must unravel their familial history through time travel. The season takes a unique and clever adaption of the New York subway system to portray time travel, which follows the series’ previous development of Manhattan that doesn’t reduce the city to landmarks. These new aspects of Russian Doll’s sci-fi antics are entertaining and work to develop the main characters’ past. Through time-traveling, the concept of mortality and fate, as well as generational trauma, come into play. These ideas had previously been explored in the first season but got more of a voice here. With so many stories about generational issues and immigrated families being released, Russian Doll follows suit and expands on the qualms Nadia exhibited with her late mother during the first season.  Season 2 heavily leans into Nadia’s past and her wish to change it; her selfishness, which she had seemed to change in the first season, returns in full force. And it’s not just Nadia’s character development that gets trashed, but so does Alan’s, as he is still the soft-spoken, anxiety-ridden character from the beginning of the first season. This is especially shocking as several years have transpired between seasons, yet both characters have returned to their previous ways, almost as if they had been stuck in time between the two seasons.
While season 2 attempts to give some more development to Alan’s character and backstory, it falls flat compared to Nadia’s. It reduces him to a secondary character going through the same experience as Nadia but is really only there to help her through it. This is unlike the first season, where they are meant to help each other. The reasoning of the metaphysical is also unclear as the universe’s abnormal actions of the first season are clearly lined out to have Alan and Nadia save each other from their untimely death. Although the aspect of time-traveling is a great device to grow Nadia’s character, it isn’t much more than that. Season 2 of Russian Doll is an entertaining addition to the series, although it ends with more questions than answers. While the first season reveled in its simplicity regarding the unusual, the second attempts to expand on the backstories already shown. Although season 2 of Russian Doll has its moments of hilarity, it is ultimately an unneeded sequel to what was a perfect miniseries. Russian Doll season 2 streams on Netflix on April 20th. All seven episodes reviewed. Rating: 4/5 Review by Tatiana Miranda  Netflix’s new original film Metal Lords follows the trials that metalheads Hunter and Kevin face as they navigate high school. In the vein of many popular music-based teen movies, the conflict centers around the upcoming Battle of the Bands competition that the two protagonists long to conquer. There’s just one problem: their band doesn’t have a bass player. In comes Kevin’s love interest and resident cello player with anger issues, Emily. The three interact throughout the film in an attempt to truly understand what it means to be metal. Similar to Netflix’s 2021 original Moxie, which explores the punk sub-genre riot grrrl, Metal Lords strips any nuance of metal music and its fanbase and instead turns it into a stereotyped look at the genre. The primary metal fan in the group, Hunter, dons Slayer graphic tees and is apparent in his belief that his music taste makes him better than everyone else. He looks down on the popular kids as they play Ed Sheeran at a party, and he especially looks down on Emily with her conservative attire and ability to play the cello. Hunter’s whole personality is that he is edgy and misunderstood, and it’s not clear if the audience is meant to sympathize with him as he is bullied by his peers or poke fun at the incel-like behavior he portrays. Throughout the movie, several great jokes point out the gatekeeping of metal and rock cultures. For instance, there’s a moment where Hunter refers to Emily joining the band as “completely gay,” which is promptly followed by Emily and Kevin’s glances at Hunter’s wall covered with near-naked men and suggestive band names. It is the perfect way to showcase Hunter’s backward thinking in relation to his love of metal music. This visual depiction of his mindset is also paired nicely at the end of the film, where he showcases some female metal icons in an attempt to show his growth.  While there is a definite change in Hunter’s behavior by the end of the movie, it doesn’t come across as warranted. For nearly the entirety of Metal Lords, he has been strong in his misguided convictions and unwilling to relent to any suggestions his close friend Kevin has. He treats everyone around him poorly, yet the audience is expected to root for him as he endures against all odds. Nothing is endearing about him as he portrays the worst of metalheads, yet he is one of the main protagonists in a movie solely about metalheads.
There are some notable moments in Metal Lords, such as the visual and auditory blend of classical music from Emily’s cello and Kevin’s metal drumming. Yet, it’s overpowered by the movie’s indecisiveness on which storyline it wants to follow. The relationship between Emily and Kevin is sweet. It creates a nice blend of rock and classical music that represents their personalities well, with Kevin being quiet yet a fan of metal music, and Emily’s classical music skills contrast with her more metal tendencies in her erratic behavior. The friendship between Kevin and Hunter can also be compelling at times, as the movie explores the rift between them as Kevin gets into a relationship with Emily. Still, Metal Lords has too much happening with not enough development to make the movie interesting as a whole. Metal Lords begins streaming on Netflix on April 8th. Rating: 2/5 Review by Tatiana Miranda  Within the past two months, there has been an abundance of fictionalized true crime-related miniseries released, such as Pam & Tommy, Joe Vs. Carole, WeCrashed, Inventing Anna, and The Dropout. Of those recent titles, two are from Hulu, which follows the success of their 2019 true crime-based drama The Act, which is about the life and actions of Gypsy Rose Blanchard. Hulu's newest fictionalized miniseries, The Girl from Plainville, recounts the death of Conrad "Coco" Roy and the indictment of his girlfriend, Michelle Carter. In 2014, Roy died due to suicide-by-manipulation from Michelle Carter, who was later convicted of involuntary manslaughter and served 11 months. Similar to how Gypsy Rose Blanchard's actions were portrayed in The Act, The Girl from Plainville attempts to show the case in a not necessarily black and white way. Based on the Esquire article of the same name and the 2019 documentary I Love You, Now Die, the show goes beyond the court case and attempts to give an understanding of what led to Carter's actions. In a Good Morning America interview, Elle Fanning, who plays Michelle Carter, stated that the media portrayed the case in a "one-dimensional way" that didn't showcase all the nuances involved. Through interpretations of text messages between Carter and Roy and imagined scenes shown from Carter's point of view, the series gets this point across. Although The Girl from Plainville achieves its goal of portraying the case with nuance, it also takes an abundance of creative liberties that aren't based on even a bit of factuality. For instance, there are regularly moments in the show that showcase Carter's imagination, such as a musical scene between her and Roy singing "I Can't Fight This Feeling Anymore" in the style of her favorite Glee characters, Finn and Rachel. Moments like this are an attempt to show how Carter might've viewed their relationship. Still, since it's not based on anything, it's likely added for entertainment value and instead turns what should be a dark and eye-opening story into something pulled out of Riverdale.  Beyond the surreal moments like this, the series as a whole has flaws in its way of storytelling. The series jumps back and forth from Carter and Roy's interactions to the consequences of his death, such as Carter's court trial. While the series takes a unique creative direction in showing texts between the two as face-to-face conversations, it doesn't make up for the lack of creativity everywhere else. In Yhara zayd's YouTube video, "hi, not everything needs to be a fictionalized miniseries, kthxbye", she points out that with series like The Girl from Plainville, sometimes the stories realistically are not interesting enough to be fictionalized. This is especially true with The Girl from Plainville since it's based on a profile article and documentary, which both portray the case in the same way as the show.
While fictionalized miniseries can provide a unique insight into certain cases, the abundance that has come out recently seems to be regurgitating the same information portrayed in other forms. Even though the cast of The Girl from Plainville gives their all, the series lacks any interesting perspective that differs from its source material. The Girl from Plainville streams on Hulu beginning March 29, with new episodes streaming subsequent Tuesdays. All eight episodes reviewed. Rating: 2/5 Review by Tatiana Miranda  Two years after the premiere of the Netflix original series Bridgerton comes the second season. Following the first season's popularity, the new season takes a twist from what fans have become familiar with and sets a precedent for what the rest of the series may look like. Based on the second novel of the Bridgerton book series by Julia Quinn, season two follows the eldest Bridgerton sibling, Anthony, as he attempts to find a wife during the courting season. While a majority of the cast from the first season reprise their well-loved roles, several characters, such as Rege-Jean Page's Simon Basset and Sabrina Bartlett's Sienna Rosso, are only mentioned in passing. The star of the first season, Phoebe Dynevor, who plays Daphne Bridgerton, appears in a portion of some of the episodes, but it is clear that she is no longer the focus of the show. Season two features several new characters, such as Kate and Edwina Sharma, who both play love interests to Anthony. For fans of the book series, while the show does stay true to many plot points, it does utilize moments from other books or creates new, original scenarios to benefit specific plot points, such as the case with the development with Lady Whistledown's story. Compared to the first season, the second one features significantly fewer sex scenes but still has a fascinating love story that the series is known for. Beyond the romance plots and steamy scenes, the underlying mystery of Lady Whistledown and her motives persist in this season, even after the revelation of her identity. Now that Whistledown's true identity is known, we see her as she makes enemies and allies.  While the secondary plot regarding Lady Whistledown can be intriguing at times, the reveal from the first season no longer makes it as interesting and often hinders the series and overshadows key moments in the show. Because of this, it becomes even more apparent in this season that romance is what the series is best at, not mystery or betrayal.
Among the many balls and events, the most memorable scenes this season are when most of the Bridgerton family are together. For instance, the third episode showcases a game of pall-mall between the Bridgertons and the Sharmas. The episode is full of cute moments that also aid character and relationship development. Compared to the first season, this one relies on the relationships between all of the Bridgertons even more, and it gives backstory to what life was like for them growing up. Along with Anthony's romantic storyline progression, the audience also gets a peek at other members of the Bridgerton family as they find romance and develop in their passions, setting the plot for future seasons. If the series continues in its path following the book series, fans of the show will likely get a third season about Benedict's love life next. While the new season showcases several convoluted secondary plot points and drastic character changes between seasons, its fascinating romance storyline distracts from any minute flaws the series may have. Bridgerton season 2 streams on Netflix March 25th. All eight episodes reviewed. Rating: 5/5 Review by Tatiana Miranda  Photo Credit: Netflix © 2022. The Andy Warhol Diaries opens with the words: “Andy’s voice in this series is recreated using an AI program with The Andy Warhol Foundation’s permission." This high-tech aspect of the docuseries sets the precedent for what the six episodes will consist of. AI Andy narrates entries from the diaries, which is then paired with commentary from fellow artists, celebrities, and art historians. Close friends of Andy’s mix with those who have dedicated much of their life to studying his art. As they mention in the first episode, and is shown with the variety of perspectives about his sexuality in the final, there is no way to confirm what his life was actually like, as “there’s always going to be ten different stories by ten different people." Still, this series attempts to tell the story of Andy Warhol’s life in a way that is only possible due to advancements from the late twentieth-century and on. Because Warhol’s art is a representation of pop culture, director Andrew Rossi makes the wise decision to include commentary on today’s state of pop culture and America’s current infatuation with celebrities. The introduction to the series showcases various Tik Toks, song lyrics, and interviews with celebrities, such as Kanye West, that reference Andy Warhol. Rob Lowe, who had been a friend of Warhol’s, mentions, “He would have loved today because of the freakshow that is contemporary culture." Due to social media, the 21st century is filled with 15 minutes of fame. Because of this, it’s the perfect time to acknowledge the culturally relevant artwork that Andy Warhol made about fame and iconography. Even beyond his paintings and prints, his magazine, films, and tv shows were all commentary on the culture at the time and what it meant to be famous. Nothing is more relevant to 2022 than that.  Photo Credit: Netflix © 2022. The Andy Warhol Diaries is based on the non-fiction book of the same name, which was edited by Pat Hackett, a journalist and friend of Warhol’s. The diaries were not written by Warhol himself, but instead transcribed from telephone calls between himself and Hackett, and then published two years after his death. While the series uses the diaries to tell Warhol’s story, it is also constantly in conversation with the way they are written and how they were received. The Andy Warhol Diaries are a mix of Warhol’s personal life and what life was like just in general at the time. Editor’s notes inform readers about the realities of AIDS in the eighties, the preppy style that Warhol’s lover Jon Gould wore, and so on. While the series is an ode to Andy Warhol and his life and artwork, it is intertwined with important societal moments at the time. His relationship with Jean-Michel Basquiat brings up the discussion of race and the way Warhol approached it, and Warhol’s personal relationships refer to the ever-present conversation of sexuality.
The Andy Warhol Diaries proves itself to be a series not just for Warhol fans, art historians, or even regular historians, as it is a story of suffering, loneliness, fame, and love that is fascinating for an average viewer. The mixture of talking head style interviews, narrations of the diaries by AI Andy, images and film footage Andy and others took, artwork, interviews of Andy, music, movie scenes, etc. represent the creative chaos that was Andy Warhol. The Andy Warhol Diaries give insight to the man himself, and are also an artistic representation Andy Warhol and the impact his art continues to have. The Andy Warhol Diaries will be released globally on Netflix March 9th. Rating: 5/5 |