Review On BOO BITCH: In a Popularity Contest with High Stakes, Friendship Is Lost

BOO BITCH, An Adult comedy Series which has been Directed by- Erin Ehrlich, Lauren Lungerich, and Tim Schaer available on Netflix OTT platform with the star Cast- Lana Condor, Zoe Margaret Colletti & Mason Versaw.

BOO BITCH, Netflix Adult Series Review, Plot, And Star Cast 

It shouldn’t take long for someone to decide if “Boo Bitch” is right for them. High teenagers communicate in improbably lengthy hashtags and acronyms in Netflix’s newest young adult series, and the conversation often reads as though it were written in ALL CAPS.

The frantic tone of the program at least allows Lana Condor the option to play someone very different for viewers interested in finding out what she’s up to after playing Lara Jean in the “To All the Boys I’ve Loved Before” typology.

Erika Vu of “Boo Bitch,” Condor’s newest high school character, winds up being a far more focused version of Lara Jean in ways that both showcase Condor’s ability as an actor and expose the flaws in the show’s convoluted premise.

Since her 2018 performance in the hugely successful rom-com To All the Boys I’ve Loved Before, Lana Condor has consistently delivered for Netflix. She now has a whole limited series dedicated to her, in which she will portray a melancholy adolescent seeking affection and attention. But here’s the twist: she’ll attempt to accomplish all of that while being really dead.

Erika (Zoe Margaret Colletti) is complaining to her closest friend Gia (in the 48-hour “premortem”) that they haven’t had any influence on their high school, which generally suits Erika just fine, especially given that they are just two months away from graduating. Then, we notice a pair of bright platform Chucks peeking out from behind a moose. Erika Vu’s voice is heard saying, “They’re mine” (Lana Condor).
Let’s read out the review and decide whether the series is worthy for you or not.

The Review of the Adult Comedy Series BOO BITCH

A well-loved and sometimes underappreciated classic is the sitcom in which supernatural aspects (time travel, foresight, magic skills) underline the struggles of being a teenage girl. Boo Bitch is an eight-part Netflix limited series that is occasionally snappy but mainly mediocre.

The playfully occult characters in humorous series like Sabrina the Teenage Witch, Wizards of Waverly Place, That’s So Raven, and, more seriously and succinctly, Buffy the Vampire Slayer, provide inspiration for Erika Vu, a quiet, studious senior played by Lana Condor. After being run over by a moose the night of her first high school party, she turns into a ghost.

The frantic energy and candy-colored design of the program remind me of Nickelodeon’s Zoey 101, and the outfits seem like a deliciously twisted take on TV adolescent fashion from the middle of the aughts.

Everything is happy and more delightful than you could expect until it isn’t. Before the second half swings into practically unwatchable, cheap drivel, Tim Schauer, Kuba Soltysiak, Erin Ehrlich of Crazy Ex-Girlfriend, and Lauren Iungerich of Awkward’s comic series Boo, Bitch treads a narrow line between campy and corny, gloriously ludicrous and stupid, cheeky and cringe.

(The title is somewhat of a wink until the last episodes, after which it just becomes a refrain.) It’s primarily because of Condor, Netflix’s incredibly likable in-house star of To All the Boys I’ve Loved Before, and Zoe Margaret Colletti as her quirky, devoted best friend Gia that Boo, Bitch manages to hold the center for five 25-minute episodes.

Erika and Gia are introduced to us 48 hours of “premortem,” right before they begin their last six weeks of high school. The best friends are so unnoticeable that they are left off of the senior text chain, and when Erika’s parents (Cathy Vu and John Brantley Cole) hear that they are heading out to a party, they can finally breathe a sigh of relief.

The two decide to take a gamble and say yes to everything in one of the finer high school party scenes I’ve seen in a while. The next morning, Erika awakens to find herself a functioning ghost. There are automobile headlights, a scream, and other sounds. Sadly, the heady excitement of this absurdity fades away in the second half, which adds a deflated plot surprise, clumsily summons a cringe-worthy charade of the TikTok fanbase, and transforms Erika into a power-hungry monster.

The show’s abrupt heel flip, stupid premise (even for a movie about a ghost), and extremely loose treatment of grieving couldn’t be made up for by Condor, an endearing actor who appears to relish the 180 and can pull off the character of stone-faced high school villain. Whatever the case, “Boo Bitch” isn’t quite as successful as it might be despite the best efforts of its video game stars to fill in the blanks.