Netflix Misfire Boo, Bitch Deserves to Be Ghosted
Photo Courtesy of Netflix
It is a scary time to be creating television. This spring/summer season has been the epitome of 57 streaming platforms and nothing on. No show seems to be creating that much buzz. Not even series headlined by big-name stars (sorry The Terminal List). Not even returns of once-popular shows (apologies to you Westworld). Not even a new entry into the Star Wars mythology made much of a splash (sad face emoji to you and your scruffy beard, Obi-Wan Kenobi).
But the biggest misses might be shows aimed at teens. The CW just canceled Tom Swift. Despite being based on a series of popular novels, there’s not a lot of chatter about Amazon’s The Summer I Turned Pretty. How do you reach the target demographic who prefers their entertainment in Tik-Tok sized snippets? Boo, Bitch, on Netflix, is the latest series aiming to appeal to the ever-elusive adolescent.
Erika Vu (Lana Condor) and her best friend Gia (Zoe Colletti) have gone through high school being completely ignored. They’re not on the senior text chain. They haven’t gone to any of the parties. They don’t even know it’s school spirit day. “We’re finally leaving high school and all we have to show for it is our education,” Gia laments.
With months left until graduation, the friends decide to start living. They’ll go to prom. They’ll tell their crushes they like them. They’ll stop playing it safe. Unfortunately, life has other plans. After attending a senior class rager, Erika wakes up to discover she’s dead, her lifeless body decaying under a moose. And though she’s dead, everyone around her can still see her and talk to her. Erika and Gia decide Erika is still around because she has “UFB,” or unfinished business.
You see, talking in acronyms is a thing Erika and Gia do. “UUDDUGLL” Gia tells Erika while the words “Until you’re dead, dead. You’re gonna live life” go down the side of the screen. The show is also all about hashtags with things like #HowamIdeadandstillalive?” kicking off episodes.
Here’s the thing: Tone is such a hard thing to get right. Especially when it comes to satire. Go too far in one direction and the audience is left unable to care about any of the characters. Go too far in the other direction and the show may end up not being satire at all. That’s the crux of the problem facing Boo, Bitch. You can almost feel the show trying too hard to be of-the-moment trendy. Often it can feel like when your parents use a slang term that’s passé.