Few models have seamlessly made the transition to the silver screen and television as successfully as Brooklyn Decker. Brooklyn leapt from the cover of Sports Illustrated’s Swimsuit Issue (the Oscars of swimsuit modeling) onto the big screen in 2011’s hit rom-com, Just Go With It.
Aside from her classic slow-mo emergence from the Hawaiian sea in a swimsuit, reminiscent of the classic film, 10 starring Bo Derek, she held her own opposite comedic heavyweights Adam Sandler and Jennifer Aniston. Hollywood took notice, subsequently casting her in 2012’s Battleship, alongside Alexander Skarsgard, Rihanna and Liam Neeson. Next up was the ensemble comedy What to Expect When You’re Expecting (based on the mega-bestselling mom-to-be tome) alongside a bevy of A-list actresses, including: Jennifer Lopez, Cameron Diaz, Elizabeth Banks, Rebel Wilson and Anna Kendrick. Decker famously played the young and super fit “pregnant unicorn” who leaves actress Elizabeth Banks’ pregnant character scratching her head in envy and disbelief.
On social media, where most celebrities are retouching their images, Brooklyn thinks nothing of going makeup and photoshop-free at times, fearlessly repping the daily rigors of being a multitasking working mom, while adding tech entrepreneur to her growing resume with her recently-funded fashion startup, Finery.
Decker is currently riding a wave of success, playing the role of Mallory Hanson on the hit Netflix series, Grace and Frankie, now in its fourth season. Decker’s character Mallory is a young married mother of four children, navigating complicated relationships with her parents, played by Jane Fonda and Martin Sheen, and her sister, played by June Diane Raphael.
I caught up with this super babe turned superwoman for a chat about the success of Grace and Frankie, how Netflix is transforming the entertainment industry and the evolution of great characters on television.
TME: What have you learned about great comedy through playing the role of Mallory on Grace and Frankie?
Brooklyn Decker: I’ve learned from my colleagues on the show, especially June Diane Raphael who plays my sister. She’s one of the most talented comedic actresses I’ve ever worked with. What I’ve learned from her and from the rest of the cast is the more you’re playing a scene, the funnier it becomes. All of us, when we’re shooting, we play with each other… that sounds very in appropriate by the way (laughs)…
TME: (Laughs) Don’t worry. My mind was not in the gutter…
Brooklyn Decker: Ha! We’re like, “Can I push you here? Or maybe can you grab my hair here?” We do get physical, and we find a way to play with each other to bring physicality to the scene. What happens from that is it becomes funnier, and it feels more real. I really learned that from June, who, again is one of the funniest people in my life. And the wealth of talent on our show is just incredible. I’ve really learned that when it comes to comedy, if you’re having a fun time, the audience is going to have a fun time.
TME: I agree! June Diane Raphael is a very talented comedic actress, and the two of you play so well off each other as sisters on the show. There’s an interesting parallel of female relationships on Grace and Frankie. You have the close relationship between Jane Fonda’s character, Grace, and Lily Tomlin’s character, Frankie. At the same time, there is the sister relationship between your character, Mallory, and June’s character, Brianna. You don’t often get to see one close female relationship on television, so two female storylines in one show is pretty cool!
Brooklyn Decker: You’re one of the few people who have clued into that. Someone else commented to me that it’s rare to see sisters on television. There aren’t these female relationships that are at a deep level. I feel like Grace and Frankie does a really good job of showing sisterhood as friendship. But yeah, you are one of the few people who have mentioned that.
TME: Thank you for that, and I’m surprised more people haven’t made that observation. Tell me the difference between Jane Fonda’s comedic style and Lily Tomlin’s comedic style.
Brooklyn Decker: They approach their work entirely differently from one another. Lily is just in the scene. She doesn’t care about the technical aspect of a scene. She just wants to be present and then receive. As far as her character Frankie goes, she really embodies that. Jane is so technically perfect. She knows where every camera is, she knows when to take a pause, she knows how to angle her face. They do very few takes with Jane, because everything is pretty perfect. Whereas Lily gets on set and likes to play. You get something different from Lily on every take, because she’s constantly playing, constantly moving. They approach acting so differently; it’s similar to the difference in their characters. It’s fascinating to see the two of them work together. They just rib each other all day long. You can see that there’s so much love and history there.
TME: Because they’ve worked together before.
Brooklyn Decker: Yep, 9 to 5!
TME: One of my favorite movies of all time! Speaking of which, will Dolly Parton make a guest appearance on Grace and Frankie?
Brooklyn Decker: Abso-freakin-lutely! We beg for it every episode. They’re so secretive about it, that I don’t know if it is in the works, or if it will ever happen. I know that a lot of fans of Jane and Lily have wanted to see Dolly on the show because of 9 to 5. In the first two seasons they wanted to make sure that they fleshed out the show before they brought in what would be the tornado that is Dolly Parton. Now that we are in Season Four, they are playing it super close to the vest.
TME: How is it having Martin Sheen, who is also a fantastic actor, playing your father?
Brooklyn Decker: He is such a wonderful person. One of my favorite shows of all time, before doing Grace and Frankie, was The West Wing. Everyone says you should never meet your heroes because you’ll be disappointed. I was nervous to work with him, because I really had him on this pedestal. And he is such a kind, present, lovely person. My son was born when I was shooting the show, and the next week he brought me a rosary with the date that my son was born. He’s so paternal and wonderful, and to be able to play his daughter feels really natural. I have such respect and affection for him.
TME: You were pregnant in season three? I just watched it and you weighed 2 lbs!
Brooklyn Decker: Well, no, I was pregnant in season two, and then I was pregnant with my second this upcoming season four.
TME: I’m going to be on the lookout for a bump in season four!
Brooklyn Decker: It’s so confusing. June and I have four children altogether, off the show, and I have four children on the show. We have trouble keeping up with what’s real and what’s fake. It’s all very confusing (laughs).
TME: Do yours and June’s kids have playdates?
Brooklyn Decker: Yes. When I’m in LA they have; when we all get together.
Brooklyn Decker: Honestly, that’s my dream! I want a ton of children. Both me and my brother wish that we had more brothers and sisters. Whereas my husband comes from a family with three boys, and he likes the idea of two. So far, we’re good with two and we’ll see where that takes us.
TME: Of course, the main plotline of Grace and Frankie is that Robert and Sol, played by Martin Sheen and Sam Waterston, come out as gay after their kids are grown up, they announce they’re in love and leave their respective wives (played by Jane Fonda and Lily Tomlin) to be together. Your character, Mallory, being one of the grown children, has to process and deal with that on the show. Have you ever thought about how you would react if that were to happen in your real life? If you had a parent who came out later in life and left your other parent, how do you think you and your brother might have handled those circumstances?
Brooklyn Decker: That’s interesting. I’ve had two male friends who had children and came out to their wives later in life. It hasn’t happened to me, personally, but people do go through it and I think I can relate to the kids on the show. During Season One, one of the more poignant moments was a scene when all of the kids were having a conversation, and basically saying, “We’re not mad that dad’s gay. We love dad no matter what. We’re mad that he’s been lying to his wife, our mother and our family, for twenty years.
For me it would be about the fact that they’ve been having an affair for twenty years; that would be a big deal. June’s character, Brianna, said on the show, “What if dad had been having an affair with a woman? We would all be pissed. But because it’s a man, we have to accept it.” I think that is so true. That was an interesting thing to tackle on the show, and I feel like that would probably be true in real life. If a parent was having an affair, and had been having an affair with one person for so many years, that would be the issue. For me, it would be less about their sexual orientation.
TME: You came on the scene as a model. Back when you were on the cover of the Sports Illustrated Swimsuit Issue, was the end goal an acting career?
Brooklyn Decker: When I moved to New York and first started modeling, I moved thinking that I was just going to pay for school. That was the goal. When I started modeling I was eighteen, and all of my friends were in their freshman year at college. I really missed that. The reason I started studying acting was because I really missed school. My manager said,
“Why don’t you get an acting coach and study acting? It will at least give you something to read and study when you’re on the road.” I liked that idea, so I started studying with a coach in New York and we started reading a bunch of Tennessee Williams. We approached it in a weird way, kind of academically. It was less about performance and more about learning and studying. I fell in love with studying acting. When I started auditioning, I didn’t think anything would come from it.
TME: What made you come to that conclusion?
Brooklyn Decker: Growing up in Matthew, NC, becoming an actor and becoming a model wasn’t a realistic career path. My brother’s a firefighter, my mom’s a retired nurse. It’s not something that you do where I’m from. We weren’t in the arts. In that respect, it was something that happened by chance. Once I started studying and auditioning, I fell in love with it and then of course I really wanted it. By 2010, I got three movies in one year. The second I booked my third movie, I said to my manager, “I’m quitting modeling. I’m done.”
TME: One of those movies was Just Go With It with Adam Sandler and Jennifer Aniston?
Brooklyn Decker: Just Go With It, Battleship and What to Expect When You’re Expecting. Once I booked my third movie, I had the courage to decide to stop modeling and focus on acting, and that was seven years ago.
TME: At what point did you feel like you made the transition from a model who’s done some acting, to an actor?
Brooklyn Decker: I don’t feel like that…yet.
TME: You don’t??
Brooklyn Decker: I do think that as a model, especially one who was in Sports Illustrated, which really puts you on the map, you have a lot to prove. People are constantly viewing you as one thing, and seeing you as sort of a wannabe (laughs).
TME: I get it. When you’re on the Grace and Frankie set, you’re surrounded by Jane Fonda, Lily Tomlin, Sam Waterston, Martin Sheen, June Diane Raphael who is a seasoned comedienne. You got a seat at the table, but are you constantly questioning, “Do I belong here?” “Should I be here?” Or do you feel like, “Yes! I belong here.”?
Brooklyn Decker: I feel the insecurity that you just said of “do I belong here?” every single day. I think it’s me. It’s my own neurosis. But I do think that no matter what, any actor, and I’ve been acting full time now for seven or eight years, but any relatively new actor would feel insecure working with that group of actors. But I do feel a little bit more insecure because of where I came from, for sure.
TME: How does the cast feel about you?
Brooklyn Decker: I don’t think they care. Jane is an ultra-feminist and she does not care what your past is. Her attitude is if you’re here, you are part of the show. I think that is how everyone feels.
TME: What would you say is the overarching moral of the story, or the overarching message of Grace and Frankie?
Brooklyn Decker: I think it really is that love and relationships come in all forms. Family can come in all forms. If you look at the central story, it’s the story of two women who typically aren’t represented on television. We don’t usually get to see women who are 80 going through life, and this show explores that. Second to that, I think it shows different forms of relationships. You have the two brothers who are adopted, and you see them navigating that with their parents. You have two sisters who have chosen completely different lives from one another, Grace and Frankie are exploring this sisterhood and family between the two of them, as two single women in their eighties. And Sol and Robert are a gay older couple who have just come out and are married.
TME: This show throws a lot of the “shoulds” that society places on us out the window.
Brooklyn Decker: In season three, Sam and Martin’s characters were wanting to go to gay clubs and open up their relationship, and they were wondering what gay couples are supposed to do. A lot of it was they thought they were supposed to be doing something because they’re gay. Just like Grace and Frankie feel all of these cultural expectations on them because they’re 80 years old. You see each of these characters defy what the societal expectations and projections are. It’s about busting through expectations placed on people.
TME: In past generations, television didn’t reflect the true messiness of life. I can remember my mother telling me that she would watch shows like Father Knows Best or Leave It To Beaver, where everything was so perfect and idyllic, and she would wonder why her family wasn’t TV perfect. The stories we are seeing now on television are embracing the messiness of life, which is what real life is.
Brooklyn Decker: Exactly! And the messiness is more interesting and what’s fun to watch. I don’t know what Netflix’s expectations were, but I do know there was pressure surrounding us when we were filming the first Season. The Netflix streaming demographic was a relatively new concept at the time, and they didn’t know who the audience was for this. What Netflix has discovered, and why it’s such a huge hit, is because it resonates with people in its messiness. The show makes people laugh, makes people cry… there are things people relate to and things that people learn from. Right now, more than ever, people want something that feels real, but also lifts them up. They need thirty minutes to have fun.
TME: What are your thoughts on the movement that Netflix has become? The fact that so many talented writers and actors are flocking to this platform, and everybody is coming on board and trying to be a part of it?
Brooklyn Decker: What’s so exciting about it is that, ultimately, the talent wins out. It’s the first time that we’ve really had that in Hollywood. Because there is such a wealth of opportunity now, you are really getting to see talent. The cool thing about Netflix is they can just make really good content, and with that, they can hire really good talent and they don’t have to be stars. Netflix doesn’t have to share their numbers, and they don’t share their numbers. They’re not about making sales at the box office, so they can just focus on making great content. You’re seeing the result of that. With the way the business is changing, talent wins out, and that’s exciting.
TME: Apart from the amazing Lisa Kudrow, are there any other interesting guest stars coming up on Season Four?
Brooklyn Decker: I don’t want to reveal who the guest starring actor is, but the important and interesting thing is the storyline with this actor. Sam and Martin are having a hard time in their relationship, and they ask themselves if they should bring a third party into it.
TME: The honeymoon phase for Sam and Martin’s characters is over, and now they’re having problems just like any other couple.
Brooklyn Decker: Yep, real relationship problems.
TME: Your character, Mallory, announced that she is separating from her husband on the last episode of season three. Can you share how that unfolds this season?
Brooklyn Decker: I play a woman who got married out of college and who hasn’t been in the professional world at all. For the first time, I have to figure out what I want to do with my life, and Mallory goes back to work. And I may or may not be seeking employment with one of the family members.
TME: On another note, I want to congratulate you on getting funding for your tech startup, Finery! Can you share a bit about what the Finery app does?
Brooklyn Decker: When you think about what iTunes did for music – before iTunes you had tons of CDs in your car or in your house in a CD rack – iTunes took it all completely digital. We are doing that for your wardrobe. Everything is automated these days. Your banking is on your phone, your music is on your phone, your correspondence, everything. The one thing that’s still antiquated is your interaction with your wardrobe. Women will spend two hours a week figuring out what to wear. It’s not because we necessarily love clothes, or because we are fashion loving women, it’s because we need to get dressed. We felt there had to be a better way, and women can spend those two hours doing something more productive. We call ourselves your Wardrobe Operating System.
TME: What is a day in the life of Brooklyn Decker? You’ve got the TV show, the Finery app, the two small kids and the husband. How does it all break down day-to-day?
Brooklyn Decker: That’s something I’m still navigating. Fortunately, we have been on hiatus for the show for the last couple of months. When we were thinking about baby #2 we wanted to plan it around Grace and Frankie, so I didn’t have to come back to work right away. Our baby was born at the end of November, and we did our fundraising for this seed round for Finery starting in July and August. It all worked out that I wrapped the show, we did the [fund]raise, and then I was off four weeks before the baby was born, which was good because my doctor told me I couldn’t travel 30 days before my due date. We literally flew from San Francisco and I landed back in Austin (Decker and Roddick’s home city) at midnight, exactly 30 days before my due date (laughs). We had the baby, and now I’m back to work promoting Grace and Frankie and Finery.
TME: You’re making me tired! I need a nap now (laughs).
Brooklyn Decker: And I’m not finished! Finery is based in New York, I’m based in Austin and for Grace and Frankie I work on the west coast. Yesterday I had conference calls for Finery, I was getting ready to fly to LA to do all Grace and Frankie press. Tomorrow I’ll fly back to Austin and I’ll be with my family.
Our Finery CEO is coming into Austin for meetings. It’s a juggling act, but I have a husband who is retired and who is wonderful. He is around and present with our kids, which is amazing; and I have a nanny. My family couldn’t afford a nanny when we were growing up, but we had neighbors. I’m lucky to have people around me who help, and I swear, it takes a village!
Midnight Mass: The Blood of Life
The isolated island community of Crockett receives a mysterious new head priest, full of secrets and a brand new testament under a very unusual Messenger of God.
Meet poor Riley Flynn (Zach Gilford), freshly released from prison and wracked with guilt over what got him there, a stupid drinking accident that caused the death of his ex-girlfriend. The last thing he wants to do is go back to Crockett and the judgment of the mostly religious community there, his disappointed family, and the nightmares of his ex’s death that plague him. But where else would have him? Resignedly on the ferry, he goes.
Riley’s dad Ed (Henry Thomas) isn’t the kind of man who talks very much at all, much less about his feelings, or his very real disappointment in his elder son. Riley’s teen brother Warren (Igby Rigney) has no idea what to say to him either, and just generally keeps mum. Riley’s mom Annie (Kristin Lehman) is accepting and loving, hesitant in how to help her eldest son but never wavering in her faith in the help of our lord Jesus. Mom seems to think a good heaping dose of the Church would set Riley right but is surprised to learn that the old priest of the Parish, Pruitt, has taken an extended leave of absence from the island, and his newcomer replacement Father Paul (Hamish Linklater) is young, charismatic, and bursting at the seams to tell the whole island about the gifts he brought them, most especially what he claims as a new testament under a messenger of God.
We’ll get back to that whole ball of issues in a moment, the other interesting characters of Crockett Island. Bev Keane (Samantha Sloyan) is the nightmarish overly polite and gently, almost lovingly condescending neighbor Christian woman you’ve ever loathed, the kind of person who explains away every last thing her Church may do wrong or contradictory because, after all, God works in mysterious ways. Pfft. Of course, Bev immediately ingratiates herself as the second to the new Father Paul in their services and is the first to start covering up his transgressions as they become more rampant.
Newcomers to Crockett Sheriff Hassan (Rahul Kohli) and his son Ali (Rahul Abburi) present a burgeoning problem to the plans of Father Paul and his shadowy companion, for they are both practicing Muslims. The practical side of investigating these so-called ‘miracles’ and strange happenings falls on Hassan’s shoulders, as he already struggles with barely-concealed racism and suspicion from his fellow islanders, and of course his son is being wooed away from him by the promise of actual, tangible miracles, but from a different whole faith and God. Father Paul definitely does not practice a traditional Christian faith and relies far too much on making use of the eucharist, the ceremony of the blood and flesh of Jesus Christ turning into bread and wine and, well, consumed.
Wade (Michael Trucco) and his wife Dolly (Crystal Balint) are lifers of the island and both in general interested in one thing, the advancement of their own family, specifically their daughter Leeza (Annarah Cymone), who happens to be in a wheelchair. And that happens to be the canny Father Paul’s first real miracle-with-a-cost that he demonstrates to the astonishment of the parishioners, after a heartfelt and rousing sermon, Father Paul commands Leeza to rise, to stand, and to walk. And lo, she does. What parents wouldn’t wholly dedicate themselves to a cause after seeing this happen to their beloved precious daughter? The fringe benefits of healing, and power, the ones that come at a mighty, currently unnamed, cost, are simply a nice bonus.
Joe Collie (Robert Longstreet) is the town drunk, and while his reasons for drowning his sorrows in the sauce might be understandable, absolution wears a very different face when it comes from Father Paul. While Leeza might be willing to forgive Joe, and even as Joe begins attending the newly-formed Al-Anon meetings on the island of course hosted by Father Paul, redemption might’ve been better sought from medical professionals, and not this newfound method of religious worship.
Dr. Sarah Gunning (Annabeth Gish) is the islands’ kind of all-around medic, and this is how she and Riley’s old friend Erin (Kate Siegel), also newly returned to the island, a few months pregnant but traveling quietly alone, met when Erin comes to the Doc for obstetrics. Sarah’s older mother Mildred Gunning (Alexandra Essoe) has many medical and mental issues, and Sarah struggles in their shared home, to take care of her addled mom and balance her own life. Then Father Paul takes it upon himself to visit one of his oldest parishioners, bringing the sacred host and wine with him to give directly to Mildred, who starts looking and acting so much better under his loving care.
The show is very much a slow slow burn, with a lot of the actual action taking place in the last two episodes. Much of the beginning and middle episodes feature two people just sitting alone, having quiet and seriously in-depth conversations about heavy subjects – grief and repentance, what happens when we die, the disasters that come as a result of addictions, how our actions’ consequences reverberate to those we love around us, faith and the foibles of man, and of course, the giving of oneself over to a higher power, for strength, and guidance, and love.
Except, for the higher power that Father Paul brought back with him, to share with his beloved flock of Crockett Island, while it may be extremely powerful and full of what could be considered miraculous magic, everything comes at some kind of a cost. And when the Messenger of God is finally revealed to the shocked denizens of Crockett at Easter Mass, with Father Paul rapturing on about rebirth as the bloody massacre begins in earnest, it’s faith, not in any kind of God or religion, but faith in each other, that may save a few hardy souls.
Question the wisdom of your religious leaders along with the rest of us in a fine slow-burn addition to the Flanaverse, Midnight Mass is on Netflix now!
Saw X: It ain’t brain surgery!
Legendary executioner Jigsaw returns to exact revenge on a cadre of scam artists who promised him a bogus cure for his cancer!
First off, be aware, that this is what I call an interleaved sequel, a movie set between previous films in the franchise. In this case, Saw X occurs after the events of the very first Saw film, and before Saw II. Everybody got where we are? Good! Into the madness, we dive!
So, as we all know, John Kramer’s been diagnosed with cancer, very aggressive brain cancer, and likely doesn’t have much time left. And he’s tried everything under the sun, doing a ton of meticulous research, we’d expect nothing less from our master of the art of murder, and not one thing has worked. Yet one man from the support group for cancer sufferers, Henry (Michael Beach), offers an off-the-books supposed miracle cure, and John jumps at the chance.
Why does this nonsense always sound too good to be true? Because it is. Deleted scenes from the first Deadpool movie already told us why traveling to Mexico for any kind of medical cure is a sublimely stupid move, but Kramer is desperate. And while he might be sick and dying, John Kramer has never been what anyone could call stupid. So the villa out in the Mexican countryside, the affable cab driver Diego (Joshua Okamoto) professes surprise at Kramer being highjacked for his good, the nervous muttering from assistant Valentina (Paulette Hernandez), the side-eyeing from little housekeep Gabriela (Renata Vaca) and her tequila, and most especially the smooth and smarming reassurances of head “doctor” Cecilia Pederson (Synnove Macody Lund), all leave a kind of sour taste in John’s mouth.
The whole cluex4 scene is done in the style that the Saw films are known for, where we the audience are treated to cut-together explanatory scenes in a flip-flash fashion of usually about two minutes, for poor John when he realizes he’s been hoodwinked and just how badly, seems a little contrived. But then it’s entirely possible that we the audience truly expected our genius mastermind of the infamous Jigsaw murders to have realized what was happening sooner, and got enraged along with Kramer. And cheered as he prepared to take his bloody and ultra-violent revenge!
First up in our grand guignol of executions is the return of Jigsaw’s first protégé, Amanda (Shawnee Smith). And despite her avowed reverence for Jigsaw and his proven “therapy”, Amanda does waver a bit when the scammers are put through the paces of their specially-made Saw traps, and they shriek and blubber and bleed out. The appearance of the ringer of the bunch, Parker (Steven Brand), doesn’t even slow our beloved engineer of the damned down, because we knew Jigsaw would have his other apprentice waiting just off stage, the deliciously vicious Detective Hoffman (Costas Mandylor). Even the monkeywrench of involving little-boy soccer fan Carlos (Jorge Briseno) in the traps, is just another cog in the machine that is the brilliantly plotting mind of John Kramer.
A fine addition to the Saw legends, showcasing a return to the beloved style and panache of the original Tobin Bell-starring Jigsaw films, Saw X is splashing gore and gallons of blood in theaters now!
Scott Pilgrim Takes Off
“Scott Pilgrim Takes Off,” Netflix’s latest series, is a rollicking journey through the world of video game culture, blending nostalgic references with a fresh narrative twist. Centered around Scott Pilgrim, portrayed with magnetic charisma by Michael Cera, the show skillfully integrates gaming elements into its storytelling, creating a delightful homage to the video game subculture.
The series cleverly employs pixelated graphics, power-up animations, and game-like sound effects to bring the virtual world to life. These visual cues, reminiscent of classic video games, enhance the storytelling and resonate with audiences familiar with the gaming landscape. The attention to detail in recreating iconic gaming moments is commendable, creating a visual and auditory treat for enthusiasts.
The exploration of video game culture goes beyond mere aesthetics; it becomes an integral part of the characters’ identities and interactions. The script intelligently weaves gaming terminology and tropes into the dialogue, effectively blending the real and virtual worlds. The series navigates the challenges and triumphs of the characters through the lens of gaming, making it a unique and engaging experience for both gamers and general audiences.
The ensemble cast, including standout performances from Mary Elizabeth Winstead, Ellen Wong, and Chris Evans embraces the gaming theme with infectious enthusiasm. The chemistry between the characters is palpable, adding emotional depth to the series.
“Scott Pilgrim Takes Off” successfully taps into the zeitgeist of video game culture, offering a nostalgic yet contemporary take on the gaming phenomenon. It’s a must-watch for those who cherish the pixelated roots of the gaming world while providing an accessible and entertaining narrative for a broader audience. The series takes off not only in its title but also in its ability to soar within the ever-expanding realm of Netflix originals.