The series, adapted bywriter Rachel Shukert, definitely views Martin’s stories and characters as iconic. But, like Claudia’s phone, the Netflix version ofneatly straddles the line between old and new. The show offers clear, timeless storytelling and lessons about friendship and growing up, but it’s also clearly modern in its interests in a way that enhances the source material rather than undermining it.
In the Eighties, it was a big deal that Claudia was Japanese-American at a time when there weren’t many Asian characters in kids’ books. Now, the group is even more diverse: Mary-Anne is biracial, while the Club’s first recruit, Dawn is Latinx. The show doesn’t delve much into their ethnicities , but the group feels more modern and authentic than if it was just Claudia and four white girls. And the series is casually but effectively woke in lots of other ways.
In some cases, these details are significant pieces of the story, with the emergency room scene being one of the season’s emotional high points. Just as often, though, they’re simply part of the rich tapestry Shukert is weaving from the strands Martin gave her, exploring what makes each girl tick and what being part of this group means to them. We quickly understand the reasons Kristy and Claudia drifted apart, and why Kristy fears Dawn may be replacing her as Mary-Anne’s best friend.
I may just have more tolerance for protagonists with antiheroic tendencies — particularly when they’re kids still capable of maturing and learning — and found this take ona welcome blend of nostalgia and modernity, of something geared for kids but that parents can enjoy with them, and of the many exhilarating highs and mortifying lows of this precarious moment of growing up.
sepinwall Oh good. My daughter and I have been reading the graphic novels of these drawn by RainaTelemeiger and just love them. Now we will watch these too.
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