Entertainment
Forever review: Netflix series strays from Judy Blume classic, but thats a good thing
For 50 years, Judy Blume’s Forever… has served as a rite of passage for young readers everywhere thanks to its honest, stigma-less approach to mature subject matters like sex and birth control. Now this long-celebrated tale of first love comes to the screen in Netflix’s Forever, created by Mara Brock Akil (Girlfriends).
For devotees of Blume’s novel, this take on Forever might not feel familiar at first. Yes, the bones of its central romance are the same, but Brock Akil transfers Blume’s narrative to 2018, examining how phones and the internet can complicate a first relationship. She also reimagines the novel’s leads as Black teens and conjures up rich new interior struggles for both. What follows is a sweet, heart-wrenching account of young love, one that significantly diverges from Blume’s original novel but is still very much a companion piece to it.
How is Netflix’s Forever different from Judy Blume’s book?
Lovie Simone and Xosha Roquemore in “Forever.”
Credit: Elizabeth Morris / Netflix
While Forever… introduced us to Katherine and Michael, two white high school seniors living in Westfield, New Jersey, Forever‘s leads are Keisha (Lovie Simone) and Justin (Michael Cooper Jr.), two Black high school juniors in Los Angeles. Former kindergarten classmates, the two now attend different schools, and both have dreams of athletic greatness. Keisha’s a track star hoping for a full ride to Howard University, while Justin’s striving for basketball glory at any Division I school that will take him.
When the pair reconnect at a New Year’s Eve party, sparks fly — literally. Fireworks accompany their first kiss, while Justin’s first touch of Keisha’s wrist is scored by a blooming orchestral sound cue. It’s the perfect amount of dramatic flair for teen romance, where every touch or every text back can feel like a life or death situation.
And texts back certainly are a concern for both Keisha and Justin, especially as their early flirtations fly over cutesy text messages and giggly video calls. But whenever either of them mess up — and trust me, the two make several mistakes before they get together in earnest — the block button becomes their biggest weapon.
The fear of blocking and losing that digital connection is just one of the many ways in which Brock Akil brings Blume’s story into the 21st century. Another factor? An oral sex tape between Keisha and her ex Christian (Xavier Mills) that’s been circulating, prompting waves of slut shaming — both digital and in-person — so bad that Keisha has had to change schools. It’s a pertinent update to depictions of bullying that permeate Blume’s work, and a reminder of the new challenges that come with intimacy in the digital age.
Netflix’s Forever examines sex and intimacy, but not quite as much as Judy Blume did.
Michael Cooper Jr. and Niles Fitch in “Forever.”
Credit: Elizabeth Morris / Netflix
Intimacy is another key aspect of Forever. After all, it would be impossible to adapt Forever… — a novel about all the “firsts” of first love — without it. Keisha and Justin are each other’s firsts, prompting a sex scene that’s both tender and sweetly grounded in nervousness.
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For the most part, Forever remains frank about sex. Keisha and Justin discuss what they’re comfortable with and often ask for consent before going any further. In one of the show’s funniest scenes, Justin’s father, Eric (Wood Harris), demands his son practice putting condoms on a cucumber while he watches. (And yes, like the novel’s Michael, Justin nicknames his penis Ralph.)
Still, there’s a sense that the series is holding back from the taboo subjects that made Forever… such a hit, not to mention so controversial it frequently winds up on banned book lists. There’s very little sexual exploration in the lead-up to Keisha and Justin’s first time, nor does the series discuss birth control beyond condoms. (In the novel, Katherine takes birth control pills.) Without some of these elements, which are important for young adult audiences to understand and see represented on screen and in literature, Forever occasionally stops resembling Forever… and instead becomes a regular teen drama.
Forever offers up two wonderful romantic leads in Keisha and Justin.
Lovie Simone and Michael Cooper Jr. in “Forever.”
Credit: Elizabeth Morris / Netflix
But what Forever lacks in Blume’s approach to sex, it makes up for in character depth. Keisha and Justin are two fully fleshed-out romantic leads, to the point that while I love to see them together, I’d just as easily watch the two of them apart.
And that’s a good thing, because Brock Akil has given Keisha and Justin major roadblocks to overcome in addition to their relationship. Keisha continues to deal with the blowback from her sex tape, even if she hasn’t told her single mother, Shelly (Xosha Roquemore), about it yet. The worry builds up in her over the series, compounded by the fact that star athlete Christian wants her back, to an unknowing Shelly’s delight. Keisha’s family’s financial woes accrue too, coming into stark light when contrasted with Justin’s affluent family. (Seriously, one comment about sensor lights speaks volumes.) Yet despite all these anxieties, Keisha remains headstrong and knows her worth, qualities a nicely confident Simone contrasts with Cooper Jr.’s more anxious turn as Justin. (The two young leads are dynamite together.)
Unlike Keisha, who’s dead set on her future, Justin isn’t quite sure what he wants from life. Basketball at an elite university is his parents’ dream, one that’s led him to a predominantly white high school where he feels like an outsider. But what’s a dream he can call his own? As college anxieties grow, and as Justin tries to manage his ADHD, could his relationship with Keisha be a distraction, or the key to him learning how to communicate and ask for what he wants?
With these major expansions from Blume’s original novel, Forever proves its ability to carefully recontextualize Blume’s story, unpacking issues of race and class in addition to sex. Keisha and Justin may be very different from Michael and Katherine, yet their love still has firm roots in the original romance. As Blume puts it on her own website, Forever… came to be when her daughter Randy “asked for a story about two nice kids who have sex without either of them having to die.” And, spoiler alert, that’s exactly what happens in Netflix’s Forever as well!
Yes, Blume’s novel is already a key lens through which young adults can unpack their own adolescent experiences. Thanks to some thoughtful adaptation choices, Brock Akil’s series may be able to serve a similar purpose, as well as introduce Blume’s work to a new generation.
Forever is now streaming on Netflix.
Entertainment
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Entertainment
Star Trek’s First Broadcast Episode Was Very Carefully Chosen, Because It Was Boring
By Chris Snellgrove
| Published
These days, Star Trek is a bona fide pop culture phenomenon. But during the development of The Original Series, there was anxiety that the general public wouldn’t really understand Gene Roddenberry’s mashing up Western tropes with a sci-fi setting. Making matters worse was that the original pilot, “The Cage,” had been rejected by NBC for being too brainy. Fortunately, Roddenberry got a chance to shoot another pilot, one which impressed the network enough to order an entire season worth of episodes.
Several episodes of Star Trek: The Original Series had already been shot when the time came for this new show to make its broadcast premiere. The first episode that the general public saw was “The Man Trap,” which featured a shapeshifting monster that was revealed to be an alien salt vampire. This good-but-not-great episode was an odd choice, and it was one that the cast and crew hated. As it turns out, though, this episode was very carefully selected by executives because it served as an inoffensive, relatively straightforward encapsulation of everything Star Trek had to offer.
It’s A Trap!
Most of the information we have about why “The Man Trap” was selected as Star Trek’s first episode comes from the book Inside Star Trek: The Real Story. Within this impressive reference tome, Robert H. Justman and Herbert F. Solow revealed something surprising: NBC had several other episodes to choose from for the premiere, including “The Corbomite Maneuver,” “Charlie X,” “Mudd’s Women,” “Where No Man Has Gone Before,” and “The Naked Time.” All of them had already been shot and were mostly finished, so it was just a matter of figuring out which episode would serve as the best introduction to Star Trek, a heretofore unknown sci-fi series.
“The Man Trap” won out, mostly because the powers that be worried that other episodes would be off-putting to general audiences in some very specific ways. For example, they worried that audiences would find “Charlie X” a story that was “too gentle” because it focused on an adolescent with special powers. This was probably the right call, in retrospect: when Variety gave a negative review of “The Man Trap” (an episode chosen, in part, because of its relative maturity), they declared that Star Trek: The Original Series was “better suited to the Saturday morning kidvid bloc” (ouch!).
A Monster Hit Of An Episode
“The Corbomite Maneuver” was a great potential choice, but this episode’s impressive special effects were still in post-production, and almost all of its action took place on the ship. “Where No Man Has Gone Before” really outlined the premise of the new show, but it was deemed “expository” for general audiences expecting more action and danger. Justman thought “The Naked Time” was a killer introduction to the crew’s personalities, but the network passed, presumably because of how over-the-top (half-naked, swashbuckling Sulu? Oh, my!) that episode gets. “Mudd’s Women,” meanwhile, was deemed too offensive because the plot involved literally selling women to miners.
Through this process of elimination, executives decided that “The Man Trap” was the best intro to Star Trek. It had cool scenes on both the Enterprise and a distant outpost (a strange new world) and featured a straightforward action plot you didn’t have to be a sci-fi aficionado to understand. Finally, it was all about finding and defeating a creepy monster, which offered thrills to audiences of all ages. The network’s choice paid off, and Star Trek: The Original Series became the most popular sci-fi show in television history, even though the cast (including William Shatner and Leonard Nimoy) thought “The Man Trap” was the worst possible episode they could have chosen.
All of this is a keen reminder of how much thought and work went into putting Star Trek’s best foot forward. It might be a reminder that Paramount’s current upper leadership needs, as Starfleet Academy hit the ground running with the worst episodes of Season 1. The show got better after that, but it didn’t matter because the prospective audience had already been driven away. As it turns out, today’s execs need to learn something that the network execs of the ‘60s had learned very well: series succeed when you give the audience what they want to see and not what you want to show!
Entertainment
How A Fantasy Box Office Bomb Lost $200 Million In Theaters, And Suddenly Became A Streaming Hit
By Jonathan Klotz
| Published
For the last decade as streaming has taken off in homes around the world, it’s become possible for films that lost historical amounts of money in theaters to find success, even if it might be the post-Mystery Science Theater 3000 trend of “so bad it’s good.” That’s why a massive flop, for example say, Morbius, and films that slightly missed the mark like The Fall Guy can turn it around and become a streaming success.
What’s even more impressive is the amazing turnaround of 2013’s Jack the Giant Slayer, which lost Legendary Pictures an alleged $200 million, only to end up topping streaming charts in 2025.
The Classic Fairy Tale With A Twist
Everyone knows the story of Jack and the Beanstalk, the classic fairy tale about selling a horse for magic beans and climbing a beanstalk to find a giant living in the clouds. It’s simple, contains multiple morals, and can be easily adjusted to turn Jack into the villain, but Jack the Giant Slayer instead asks, “What if there was no moral, and instead of one giant, there was an entire army of evil giants?” The movie is the classic story, as you’ve never seen it before, and it almost works.
Nicholas Hoult plays Jack, the young man who finds himself trading his horse to a monk in exchange for beans that he can’t allow to get wet, ever. Like the rules in Gremlins, it’s not long before Jack accidentally gets the beans wet and a beanstalk grows under his house with the princess, Isabell (Eleanor Tomlinson), trapped inside as it grows into the sky. All the king’s men gather to rescue the princess, including Lord Roderick (Stanley Tucci), who, thankfully, Jack the Giant Slayer makes obvious is very evil, very quickly.
It’s up to Jack, Isabell, and the loyal Knight, Elmont (Ewan McGregor) to save the kingdom and stop the invasion of giants led by Roderick and the giant two-headed General Fallon (Bill Nighy). If there’s one thing Jack the Giant Slayer does better than every other adaptation, it’s the third act featuring a full-blown war between humans and giants, with a touch of humor and absurdity. Watching a giant toss a windmill like the glaive from Krull is the perfect amount of off-beat to distract from a surprising amount of body horror in both the giant’s designs and Fallon’s ultimate fate.
A Movie For No One
Jack the Giant Slayer looks too good, and the star-studded cast is having way too much fun for it to be a truly bad movie. The problem is that the pacing is off: it takes a little too long to get to the good stuff, then it feels a little too rushed, and though it is a fun adventure, it’s also, like the source material, simplistic. It’s not like the movie wasn’t watched in theaters; it made $197 million worldwide, which would be a great haul except it cost $185 million to make, and that’s not including the extensive marketing campaign.
The push and pull of director Bryan Singer’s vision of a dark take on the fable, complete with actual people-eating on screen, and the sanitized version that hit theaters, which was still too dark for children, since the film is surprisingly rated PG-13, meant it ended up being a film for no one. The Rotten Tomatoes ratings, of 52 percent from critics and 55 percent from the audience, are proof that the final product is not great, but not bad; it’s a movie that will keep you watching for a few hours and then leave no lasting impression. These days, Lionsgate and Sony wish they’d release a movie that is that well-received, as even Jack the Giant Slayer looks like a masterpiece compared to Borderlands or Kraven the Hunter.
Streaming is the perfect home for Jack the Giant Slayer, and 10 years later, it no longer matters that the movie lost hundreds of millions in theaters. It finally gets to stand on its own as a fun, if unremarkable, fantasy adventure.
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Frederik Andersen, Hurricanes look to shut down Senators in Game 2
