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Best And Worst TV Haircuts



Two words: Buffy’s bangs. 🙁


CHANGE IT BACK: Felicity’s pixie cut on Felicity

Richard Cartwright / The WB / Courtesy Everett Collection

Ah, the haircut that literally killed a TV show. Look, pixie cuts can be really cute. But this ain’t it.


OH LA LA: Aria’s bob on Pretty Little Liars


A chopped off Aria’s hair as a “punishment” and it ended up looking SO GOOD. A literally did her a favor.


CHANGE IT BACK: Buffy’s bangs on Buffy the Vampire Slayer

The WB

I literally couldn’t concentrate on the show, these were so bad. Sarah Michelle Gellar, explain yourself


OH LA LA: Rachel’s bangs on Glee


I can barely remember Rachel BEFORE she had the bangs. They look so good on her — I feel like she finally found the perfect haircut to suit her.


CHANGE IT BACK: Jane’s bangs on Big Little Lies


No shade to Jane/Shailene Woodley — I cannot think of a single person who could pull off these bangs. They go too far (we need some face-framing pieces!) and are far too choppy and thick, plus they’re a weird length. Just no.


OH LA LA: Laurel’s pixie cut on Arrow

Colin Bentley / The CW / Courtesy Everett Collection

And here we see an example of a pixie cut that works. Take notes, Felicity! Laurel looks so badass.


CHANGE IT BACK: Quinn’s short reddish hair on Glee

Mike Yarish / Fox / Courtesy Everett Collection

This isn’t just the cut, which is bad enough (it’s too choppy, but once it goes back to blonde and is styled correctly, I like short hair on Quinn!), but mostly the color. It looks like she dyed it with Kool-Aid or something. It’s not super even and the color does not suit her skin tone.


OH LA LA: Brooke’s bob on One Tree Hill

Fred Norris / The CW / Courtesy Everett Collection

I adore Brooke with short hair. It’s so flattering and chic on her!


CHANGE IT BACK: Monica’s short spiky haircut on Friends


I know the point of this was that it was bad, but still. Monica’s hair didn’t recover for SEASONS.


OH LA LA: Allison’s haircut on Teen Wolf


Allison’s long hair was gorgeous, but it was really refreshing and cute when she cut it into this long bob with highlights. I loved the way she styled it, and it was even cuter when it was darker in Season 3B.


CHANGE IT BACK: Damon’s mullet on The Vampire Diaries

The CW

I HATED THIS HAIRCUT SO MUCH. Guys are NOT immune from bad haircuts. He had these annoying bangs and then long hair in the back that always curled up. I truly didn’t think anything could make Damon unattractive until this haircut.


OH LA LA: Haley’s bob on Modern Family


Like with Allison, I loved Haley’s long hair, but her short hair was SO CUTE!! The highlights were perfectly placed and she looked older in a good way.


CHANGE IT BACK: Lucas’s long hair on One Tree Hill

The CW

I was so excited for Lucas to return in Season 9 of One Tree Hill. And then…I saw his hair. Just why? Why was it so long? Why was it weirdly cut? Why was it gelled like that?! So bad.


OH LA LA: Sabrina’s short bleached cut on The Chilling Adventures of Sabrina

Netflix / courtesy Everett Collection, Dean Buscher / Netflix/Courtesy Everett Collection

Sabrina was cute with the slightly longer blonde hair, but this short bleached cut really emphasized her coming into her power. It was such a statement, and it just worked!


CHANGE IT BACK: Haley’s hair on One Tree Hill

The CW

Haley had so many different hairstyles, and honestly, I loved them all EXCEPT this one. I did not like red hair on her skin tone, and thin straight-across bangs were just not right for her at all.


OH LA LA: Scott’s hair evolution on Teen Wolf


Scott’s hair kept getting shorter and more coiffed, and it really worked. He went from classic teenage boy hair to sexy “I know who I am” hair. We love to see it.


CHANGE IT BACK: Alyssa’s blonde hair and bangs on The End of the F***ing World


She says “James is a good hairdresser,” but I’m not so sure. It’s impressive he pulled off this color, and it’s a good disguise, but it doesn’t work on Alyssa. But really, it’s mostly the bangs I don’t like.


OH LA LA: Stiles’ long hair on Teen Wolf


Sorry for all the Teen Wolf, but the characters just had such good hair evolutions! This isn’t a haircut, but it’s a significant change and Dylan O’Brien became just that much hotter. Thank you, MTV.


CHANGE IT BACK: Elena’s red streaks and side bangs on The Vampire Diaries

The CW

Those side bangs are SO middle school. I can’t believe she had this haircut in college.


OH LA LA: Leslie’s hair evolution on Parks and Recreation


Name a better hair evolution. I’ll wait. Her hair became so much more dimensional AND it was cut and styled better. She really came into her own.


CHANGE IT BACK: Azula on Avatar: The Last Airbender


I know this was supposed to be bad, but I feel like I’d be remiss not to mention Azula’s iconic DIY haircut on this list. Her hair truly met its match.


OH LA LA: April on Parks and Recreation


I liked April’s hair before, but her hair after, though!!!!! A short cut and that parting was just *chef’s kiss*. I love it.


And finally, CHANGE IT BACK: Hanna’s bob on Pretty Little Liars


Hanna looks amazing with short hair, as evidenced in Season 6. But this haircut was just…not it.

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Falling review – Viggo Mortensen casts a clear eye on dementia | Drama films




Viggo Mortensen is a formidable creative presence in the movies: taking on complex work as an actor with directors such as David Cronenberg and Lisandro Alonso, investing the star capital he earned with his turn as Aragorn in Peter Jackson’s Lord of the Rings trilogy, and doing a workmanlike job as wise-guy driver Tony Lip cured of his picturesque 1960s racism in the egregious Oscar-winner Green Book.

Now he has written and directed his first movie, and it’s a really valuable work, beautifully edited and shot, with a wonderful performance by the veteran actor Lance Henriksen: a sombre, clear-eyed look at the bitter endgame of dementia. Mortensen takes a determined walk across the hot coals of family pain; the drama shows how the condition, with its outbreaks of anger and fear, locks the sufferer into disjointed memories that cannot be expressed or made sense of, a mute ecstasy of loneliness. But it erases other painful memories of wrongdoing that, through a mysterious, sickening quantum, get displaced all too vividly into the minds of the grownup children and carers. They are not even allowed the relief of anger, because dementia behaviour has to be forgiven.

Henriksen plays Willis, an ornery, snowy-haired farmer and widower in the cold expanses of upstate New York: he is a lion in winter, or maybe a junkyard dog in winter. Homophobia is the one of his many attitudes that have now come obsessively to the fore because his son John (played with reticent restraint by Mortensen) has come out as gay. Now the old man has just about accepted that he cannot look after himself any more, and has come to stay with John and John’s husband, Eric (Terry Chen), in their California home. John’s sister, Sarah (a typically strong performance by Laura Linney), stops by with her family for a lunch – which, as Willis yelps and snarls his bigoted insults and sneers, becomes a group martyrdom of tongue-biting silence and subject-changing smiles from the older generation, while the teens are derisive and unafraid.

But a whole past flows beneath this stressed present like an underground stream: that of Willis’s memories – and John and Sarah’s. Sverrir Gudnason plays young Willis: nervy and insecure with a thwarted need for love that curdles into abuse; Hannah Gross plays his sensitive young wife, who cries at LP records of Chopin; and Bracken Burns plays Jill, the woman for whom he leaves Gwen, a wary stepmother to the resentful and bewildered children.

Gudnason shows that Willis was not always a villain: he wanted to bond with his son (though not his daughter) through hunting, and Willis is thrilled that John shows a talent for it, at least at first. But their relationship deteriorates and Willis gives John a scar above the lip which, worryingly, appears to match an ancient scar of his own. A cycle of abuse? Now John has given up drinking, perhaps because it is a pleasure that only fuels his rage at Willis.

With his memories of the farm and its horses and its vision of frontier masculinity, I think Mortensen has probably absorbed the influence of Larry McMurtry. Tellingly, Willis is shown watching Hawks’s Red River, with John Wayne, on TV – and maybe, via McMurtry’s script for The Last Picture Show (about Red River), the McMurtry DNA has indirectly arrived at Mortensen’s work in the present day. There is real passion and tragedy in these vivid flashback memories, triggered by moods, shapes, sounds. Just occasionally, there is black comedy. Cronenberg has a cameo as a proctologist who has to give the ageing Willis a rectal exam, the cue for all sorts of bad-taste wisecracks about his son’s sexual identity. “This is strictly routine,” says the doctor. “For you maybe,” snaps Willis, supine in his hospital gown.

With some self-effacement, Mortensen has conceded the performer’s alpha prerogative to Henriksen. It’s the right decision: Henriksen’s Willis, in all his self-defeating cantankerous arrogance, is so commanding. But I wondered if Mortensen could or should have shown us more about John, more about what he has gone through to arrive at this strenuously calm, diplomatic unresponsiveness. Could he have broken out more, shown more anger? Either way, this is a very substantial achievement.

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County Lines review – dark tale of the burdens borne by drug mules | Film




“County lines” is slang for a new UK crime phenomenon that is basically as old as the hills: the targeting of vulnerable teenagers from the big city, generally ones absent from school and without stable family support, and using them to traffic drugs out to the provinces via solo train journeys – an invisibly discreet method – and then traffic the resulting cash back. It’s about drug mules, those age-old human beasts of burden, and about using children as the disposable footsoldiers of crime, which Dickens would have recognised. Henry Blake’s debut movie about all this, developed from a short made in 2017, is focused, compassionate and well-acted: a shocking social-realist drama-thriller.

The victim-hero is 14-year-old Tyler (played by Conrad Khan) who lives at home with his mum Toni (Ashley Madekwe) and kid sister. He’s been excluded from school for fighting (Toni was once in trouble while a pupil at the same school) and crucially emboldened to do this by an earlier bullying incident in a chicken shop, when a total stranger stepped in to help him.

This was a guy in his early 20s: tough, confident, kindly, clearly the kind of role model that young Tyler hasn’t encountered since his dad ran out on the family. He is Simon, coolly played by Harris Dickinson, who starts giving Tyler lifts in his nice car, letting Tyler see his expensive watch, taking him out for meals and letting him talk about his worries. Soon, desperately overworked Toni loses her cleaning job and Simon tells Tyler he must step up to his responsibilities and be a man: which is to say, Tyler must run drugs down to Canvey Island in Essex on the train and help sell them in a world of Hogarthian violence and squalor.

The first “meal” scene with Tyler and Simon is very interesting: it takes place in another down-at-heel burger place. (Later, Marsh will show Tyler’s wonderment and intimidation in seeing Simon in a much classier restaurant with his partner and child – and Simon’s intense irritation at this low-ranking subordinate presuming to contact him there.) Simon is grooming Tyler, and allowing him to experience, perhaps for the first time in his life, the pleasure of being listened to and treated with kindness. But the film shows how the conversation is provisional, exploratory. Simon is sizing Tyler up: assessing his suitability for employment. How much responsibility might this kid be given, if any?

Interestingly, that first intervention in the chicken shop was not necessarily part of a master plan. Simon doesn’t even remember Tyler when he offers his shy thanks the next day. Getting involved in potentially violent situations with school-age kids that he’s confident of beating in a fight is something that Simon does almost without thinking. But, like career criminals, he can see how to create and enforce the bonds of loyalty, and of course his friendly mask is soon to be removed.

County Lines is a film that doesn’t run along the usual rails of a gangster thriller. You might, for example, expect to see cycle-of-abuse evidence, signs of Simon’s own erstwhile innocence or victimhood, and then indications of how Tyler is coming of age in this nauseous business: becoming more ruthless and more professional, or maybe even superseding his boss. Blake doesn’t do that, although he certainly shows how Tyler is becoming more indoctrinated into the world of brutality, a trainee abuser who assaults his mum. Instead, County Lines shows us something realer and more banal.

For all the violence and the machismo, it is the woman who finally has to clean up the mess. Tyler’s mum must look after him, take him to hospital and take the measures necessary to settle his outstanding problems with Simon, who has naturally revealed himself to be the bully-in-chief. County Lines has excellent performances from Khan, Madekwe and Dickinson, and also Anthony Adjekum as Tyler’s teacher Laurence, one of the few people who speaks to him with genuine sympathy.

County Lines is released cinemas and on digital platforms on 4 December.

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Murder Me, Monster review – a grisly mystery that stays boldly unsolvable | Film




Internal affairs takes on new meaning in this distinctively involuted Argentine thriller about a spate of gruesome decapitations in an Andes backwater. Police officer Cruz (Victor Lopez) is already on the case when his lover Francisca (Tania Casciani) becomes the next to have her head apparently chewed off, a mysterious green goo smeared on the stump. Her hollow-eyed husband David (Esteban Bigliardi) is suspect numero uno: he is found naked in the vicinity of the victims and, after later being carted off to an asylum, testifies to a strange voice in his head that whispers: “Murder me, monster.”

What does this mean? Is he mentally ill? Is he literally transforming into the monster? Director Alejandro Fadel – who has been screenwriter on many Pablo Trapero projects – is in no hurry to clear things up and seems to have no interest in conventional thriller tension or catharsis. His detectives do little detecting, preferring to reel off gnomic dialogue such as a list of different phobias. Fadel bets heavy on a kind of suggestive Lynchian illogic – as with the demonic motorcycle riders who appear for no reason in the vicinity of the killings – and shoots the unfolding quasi-investigation with a dark devotional intensity. The impassive acting style – led from the front by Lopez, with a face like a burst sandbag – keeps its own counsel.

The pace is sometimes frustrating and Fadel, near the end, is perhaps guilty of displaying too much too suddenly. Yet even when the titular critter makes its full appearance, it is bewildering: alarmingly sexualised and with implications that are not quick to be digested. Everyone in the story seems to be weighted down by this strange evil, too exhausted to combat it, even psychologically secreting it themselves. Is Fadel making some comment about the struggles of South American society or history? With a little more narrative clarity, he could give Guillermo del Toro some competition in the meaningful monster stakes.

Released on 4 December in cinemas and on digital formats.

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