![]() If only Katims hadn’t been so invested in depicting grief writ large, he might have created a genuinely moving portrait of one very specific experience with it. The sole exception, until its pat conclusion, is the story of the precocious, anxious, angry, erratic Edward. ![]() Despite many capable performances, few characters get enough screen time to evolve into more than stock types with generic problems. ![]() But his weepy sensibility, distributed across half a dozen intersecting plots and hammered home by a plaintive indie-folk soundtrack, makes for a crushingly earnest melodrama. David Boyd will serve as producing director. Author Napolitano also serves as executive producer alongside director Stevens. Katims, who was putting viewers in their feelings before This Is Us made tear-jerking a trend, was a natural choice to adapt Napolitano’s emotional book. Hailing from Apple Studios, Dear Edward will be written by Katims, who serves as executive producer through True Jack Productions alongside Jeni Mulein. Tertiary characters unnecessarily expand the collage of love, lies, and impulsive behavior. ![]() In a story line that often feels like an entirely different show, AOC-esque idealist Adriana (Anna Uzele) vies to replace her Harlem-congresswoman grandmother, a crash casualty, while falling for the Ghanaian brother (Idris Debrand) and daughter (Khloe Bruno) of another passenger. Broke, pregnant, and estranged from her own family, Linda (Amy Forsyth) reaches out to the parents of her fiancé, who never so much as mentioned her to them before he perished. ![]() Along with Schilling’s Lacey, who struggles to help Edward heal, we meet Dee Dee ( Lights alum Connie Britton), a rich empty nester untangling her late husband’s web of secrets. ![]()
0 Comments
Leave a Reply. |