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Netflix's The Politician Review: It's a Hilarious Mix of Glee, Scream Queens, and, The Act


“I love to take bites out of the very confrontational nature of Payton and the over-confidence and the sort of lack of empathy and lack of regard for anyone else’s motives and feelings, because I’m very much not like that,” Platt tells Glamour about his character, who, at one point in the pilot, literally ponders whether or not he’s a sociopath. “It was delicious to play someone who is so headstrong and walks into a room and believes he’s the best person in the room.”

Boynton has similar feelings about playing the antagonistic Astrid. “She can be such a powerhouse and power presence, and I love those moments,” she says. “That happens mostly at her worst, and I love that part of her. I love playing Astrid at her most aggressive. She has such a presence and is not in the slightest afraid to take up space in the room.”

That aspect of The Politician is definitely refreshing. The female characters on the show—whether that’s Astrid, Dusty, or Georgina—aren’t concerned with being “likable.” They have elections to win, scams to execute, or mansions to iconically glide around. These women aren’t necessarily realistic, but they’re not idealized, either. They’re self-indulgent, over-the-top, occasionally villainous, and always entertaining. Think Chanel Oberlin from Scream Queens after 15 espresso shots.

Which, again, isn’t everyone’s cup of tea. The Politician paints its characters boldly and with broad strokes. It’s satirical and cynical and, at times, a bit dark. That aforementioned tragic event is truly devastating—and while it’s given the reverence it deserves, the pilot moves quickly back to Payton and Astrid’s win-at-all-costs antics. There’s not a ton of emotional nuance and sensitivity in The Politician. Know that before going in.

Ben Platt as Payton in The Politician.

Netflix

There are, however, several parallels to another Murphy classic: Glee. Payton could easily be the younger brother of Rachel Berry, McKinley High School’s show-choir all-star who was determined to make it on Broadway. “Payton definitely has that blind Rachel Berry, I will get it by all means necessary [motto],” Platt says.

That being said, Glee was a polarizing show, and The Politician will undoubtedly be too. It currently has a 55 percent rating on Rotten Tomatoes, so critics are pretty much down the middle. What ultimately will determine your taste for The Politician is your opinion on Ryan Murphy content. This isn’t one of his made-for-the-masses productions, like American Crime Story. His humor and brand are written all over this, in its most extreme forms. Personally, I loved it. Some will hate it. Regardless, I think you should give at least the pilot a whirl—if anything to see Gwyneth Paltrow prune flowers in full glam. I could watch nine hours of that alone.



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The MAC x Jeremy Scott Palettes Look Like Your High School Mix Tapes


If you were a kid of the nineties/early aughts, you most certainly remember the thrill of firing up Napster. Waiting 10 minutes for each song to download was absolutely worth the indelible feeling of coming up with a great name to Sharpie on a warm, freshly burned CD. In terms of nostalgia, it’s high up there with Steve Madden’s stretchy sandals and anything Britney. Which bring us to this: MAC and designer Jeremy Scott are teaming up on collection of palettes that look exactly like mixed tapes—down to the scrawled-on handwriting that only came with meticulous practice.

Given pop culture’s current obsession with all things from the era and the fact that Scott is the one behind the recent Ugg resurgence, the line isn’t all that surprising. Nonetheless, the packaging is so cute it’s pretty hard not to love. Starting with the Acoustica Cheek palette ($35), every detail is spot on: It’s got everything from the delightfully punny name (“Cheeky Mixtape Vol. 1”) to the bubble-dot “I”.

PHOTO: Courtesy of brand

PHOTO: Courtesy of brand

For the full experience, the exterior packaging is also a relic with realistic CD sleeves. The cheek colors inside are just as good, a peachy pink blush, warm bronzer, and shimmery champagne highlighter.

That attention to detail keeps up through the Future Emotion lip palette ($35), a set of nine lip colors packaged in a cassette case. Sharpie alias: Bumpin Jamz with a squiggly underline, in true nineties style. Like the cheek colors, the colors inside are likewise timeless. They run from crimson, to fuchsia, to wine, and hit a vibrant purple along the way.

PHOTO: Courtesy of brand

PHOTO: Courtesy of brand

And here’s where things go seriously AV club (or Say Anything). The collection’s last piece is the boombox-packaged Lo-Fi eyeshadow palette ($75), with 29 shadows inside. Picture club neons in shades of gold, pink, blue, green, purple, and orange, plus a center set of work-appropriate cool neutrals. The front is again beyond accurate, from the mixboard where you could pump up the bass to the cassette slot with a mini, faux version of the lip palette.

PHOTO: Courtesy of brand

PHOTO: Courtesy of brand

The line starts rolling out to select MAC stores on February 8, which gives you just enough time to painstakingly put together the perfect getting-ready playlist—and not a minute sooner. What Spotify?

And Because Nothing’s Gone Forever:
Ariana Grande Is Making Scrunchies Great Again
Brace Yourselves: Uggs Are Getting the High-Fashion Treatment
Steve Madden Is Now Selling Those Stretchy Platform Sandals You Had in the ’90s



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'What Happened to Monday?' Is a Terrifying Mix of 'The Hunger Games' and 'Divergent'


PHOTO: ©Netflix/Courtesy Everett Collection / Everett Collection

Warning: Major film spoilers ahead.

Noomi Rapace plays seven characters in Netflix’s new film, What Happened to Monday, but that’s not even the wildest part about this project. Nope, that honor goes to the Child Allocation Bureau, a government branch responsible for making sure families have onlyone child in their households. The goal of this entity is to “fix” the world’s overpopulation issue, which has reached critical mass in 2073, the year this film takes place. And what happens to the excess siblings, you ask? They’re killed—but the families don’t know that.

This is a dystopian movie, if you couldn’t tell, and it’s a good one. It’s also a movie about survival and determination and sisterhood—seven sisters, specifically. All played by Rapace.

If you’re scratching your head, here’s some background info: A genetic mutation causes a woman to give birth to seven children, which is bad because of the Child Allocation Bureau I mentioned earlier. If the government finds out about her children, six of them will be taken away. So after she dies in the hospital, her father (Willem Dafoe) takes the kids into hiding. He names each child after a day of the week—and when they get older he lets them go out once a week. Monday can leave the house Monday, Tuesday on Tuesday—you get the idea.

But here’s the catch: When the sisters are outside, they have to fool the world into thinking they’re one person named Karen Settman. They have to wear a wig and walk the same and talk the same. If they don’t, the government might realize more than one person is living in their house—and I already told you what happens in that case.

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PHOTO: ©Netflix/Courtesy Everett Collection / Everett Collection

At the head of this totalitarian regime is Nicolette Cayman, played brilliantly (and terrifyingly) by Glenn Close. When she gets wind of the seven siblings, a manhunt ensues for all of them but one. Those are the rules, after all.

You can probably guess what happens next: lots of fighting, blood, and yes, death. (Sorry, but not all the sisters make it to the end of the film.) These scenes are exciting and adrenaline-pumping, sure, but they’re something even more important: empowering—especially for women. The seven sisters outsmart their techno-savvy government by working together—using their strengths to stay one step ahead of the violent dudes hot on their tails.

In one particularly chilling scene, three men with scary guns lure five of the sisters out of hiding. The dudes laugh at the sisters and make some disparaging comments about them. Right as you think it’s all over, though, one of the physically astute sisters takes a shot at the head lunkhead, and a full-out brawl begins, ending in the death of all the men hired to kill them. Granted, this isn’t a fully victorious moment—one of the sisters, unfortunately, also dies—but it establishes the tone of the film. On some level, this movie shows what good can happen when women join forces.

It also shows what happens when they’re adversaries. This entire blood bath began in the first place because one of the sisters—I won’t tell you which—made a seedy deal with the government. She quite literally betrayed her sisters, and the result was carnage. Lots of it. The message isn’t exactly subtle—but it’s powerful.

And the film’s references to The Hunger Games, Divergent, and Orphan Black aren’t subtle either. Nicolette Cayman is eerily similar to Jeanine Matthews, the dictator who had a bone to pick with Tris in Divergent; the sisters’ fighting style has distinct Katniss Everdeen shades; and, as I mentioned earlier, Rapace takes on seven. different. roles. That’s Tatiana Maslany AF.

What Happened to Monday still has its own identity, though. For one, it’s scary. Like, genuinely scary. (The Hunger Games and Divergent are great, but they won’t keep you up at night.) But it’s that theme of sisterhood that really sets Monday apart from its peers. Katniss and Tris are great female protagonists, but they’re the only ones in their respective stories. Their narratives are inextricably linked to the male characters. In What Happened to Monday, the males take a backseat to the badassery of Karen Settman. Times seven. Whoever said there’s power in numbers was absolutely right.

What Happened to Monday is streaming on Netflix right now. Go watch!



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