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03-21-2023 Daily Edition March 20, 2023

Daily Edition

Shocker: Marvel Studios Veteran Victoria Alonso Exits (Exclusive)

Victoria Alonso, the longtime and high-profile Marvel Studios executive whose time with the company dates back to the first Iron Man, has left the studio, multiple sources tell The Hollywood Reporter. The reasons for the exit are unclear, but she parted ways with Marvel on Friday, sources say. Alonso had been with the company since […]

Victoria Alonso, the longtime and high-profile Marvel Studios executive whose time with the company dates back to the first Iron Man, has left the studio, multiple sources tell The Hollywood Reporter.

The reasons for the exit are unclear, but she parted ways with Marvel on Friday, sources say.

Alonso had been with the company since earliest days of the Marvel Cinematic Universe, establishing an enviable 17-year run and watching the studio grow from operating above a Mercedes-Benz dealership in Beverly Hills to being acquired by Disney. During her tenure, the MCU became the highest-grossing franchise in film history.

Alonso joined the studio in 2006 as chief of visual effects and postproduction and helped launch the Marvel Cinematic Universe as a co-producer on 2008’s Iron Man. She also served as co-producer on Iron Man 2 (2010), Thor (2011) and Captain America: The First Avenger (2011). Alonso was upped to executive producer on The Avengers (2012), the landmark film that grossed $1.5 billion and took Marvel to new heights, proving that the concept of a shared cinematic universe could really work.

Alonso has served as executive producer on Marvel’s subsequent releases and also worked on its Disney+ TV series. In 2021, she was promoted to president, physical and postproduction, visual effects and animation production.

Last year, she also produced the Oscar-nominated international feature Argentina, 1985.

Her departure comes in the shadow of Ant-Man and the Wasp: Quantumania‘s poor showing at the box office and among critics and fans.

In addition to her behind-the-scenes work, Alonso has been an important ambassador for the studio’s representation efforts and was outspoken during Disney’s dispute with Florida over its “Don’t Say Gay” bill. “As long as I am at Marvel Studios, I will fight for representation,” Alonso, who is gay, said at the time.

She was named one of People en Español magazine’s Most Influential Hispanic Women in 2019 and 2020 and has been featured on THR’s Women in Entertainment Power 100 list multiple times.

‘Yellowjackets’ Creators Get Real on Season 2 Pressure, Showtime Tumult and Spinoffs: “We Have a Couple of Ideas”

When Ashley Lyle and Bart Nickerson first moved to Los Angeles, working as a dog walker and P.F. Chang’s bartender, respectively, the native New Jersey couple liked to splurge on dinner and drinks at Tam O’Shanter — the 100-year-old Scottish house of prime rib in Atwater Village. These days, however, it’s where they go to […]

When Ashley Lyle and Bart Nickerson first moved to Los Angeles, working as a dog walker and P.F. Chang’s bartender, respectively, the native New Jersey couple liked to splurge on dinner and drinks at Tam O’Shanter — the 100-year-old Scottish house of prime rib in Atwater Village. These days, however, it’s where they go to break story on their Emmy-nominated drama, Yellowjackets. “It turns out that this place is kind of a writers’ haunt,” says Lyle, next to one of the Tudor building’s dormant fireplaces on a recent March afternoon. “I’ve seen Dan Harmon here a few times. And Jason Segel, who we worked with on Dispatches From Elsewhere, he fucking loves this place.”

The husband-and-wife team were not, like so many TV creators these days, an overnight success. Prior to Yellowjackets, their co-creation that courted a rabid fan base out of the gate in 2021 and brought much-needed buzz to Showtime, they wrote on The CW’s vampire drama The Originals and Netflix’s Narcos. Now, with Yellowjackets returning March 24, they talked about the tumult at Showtime, the plight of the screenwriter in 2023 and why they have no interest in debating “likability” in the characters who populate their taut survival mystery that often makes Lord of the Flies look like Madeline in comparison.

What’s the first thing you two wrote together?

BART NICKERSON When we were trying to get out to L.A., we wrote 20 pages of a Scrubs spec script super fast. That was the first and last time that our collaboration has allowed us to move quickly.

ASHLEY LYLE We both wanted to be comedy writers at first, so we have a suitcase full of spec scripts — Scrubs, 30 Rock, My Name Is Earl — because that was still a thing back in the day. We were just at the end of that thing where it was like, “Oh, just write a pretend episode of a show that you like.”

So when potential staffers are submitted for your room, you don’t get fantasy Yellowjackets episodes?

LYLE Nope. And, as a showrunner, I really wish we could bring it back. There’s development writing and then there’s staff writing. They’re such different things. When someone wants to come on your staff, what you really want to know is, “Can they write in your voice? Can they write your show?” It’s a shame it’s gone, because it’s a great exercise.

It’s been said you received more than 250 writing submissions for season two staff, well above the norm.

LYLE It was flattering to see how many people wanted to come on board. But we love our writing staff, so we didn’t have a ton of room. We didn’t for season three, either.

I imagine it’s flattering but also a little intimidating, no?

LYLE It was weird.

NICKERSON I don’t know that we’re entirely comfortable judging our peers. You want to just honor that enthusiasm and be like, “Yes, come on in!” But that’s not practical. And our show is not going to give us that kind of budget.

Ashley Lyle and Bart Nickerson were photographed March 6 at Los Angeles restaurant Tam O Shanter, where they have been known to break stories.
Ashley Lyle and Bart Nickerson were photographed March 6 at Los Angeles restaurant Tam O’Shanter, where they’ve been known to break stories. Photographed by Yasara Gunawardena

Former Showtime boss David Nevins has been open about not seeing Yellowjackets working. Did that trickle down to you? And do you know when you changed his mind?

LYLE It did trickle down that he wasn’t sure it was for the network. It’s absolutely a credit to him that he listened to his team, who were all very strenuous in their support of the show. Gary Levine’s been there 22 years, and he believed in it from the pitch. I know that our team went to bat for us with David.

How do you feel about the fact that so many of those people aren’t sticking around amid all the Paramount consolidation?

LYLE We’re obviously heartbroken. Gary has been with this show from the beginning. He bought the pitch, and he’s staying with us throughout the remainder of this season — so that will be a resource for us.

Did you get a heads-up about all the changes, or were you learning about the network rebrand in the news?

NICKERSON By that point, we knew enough about what was coming that it wasn’t destabilizing. And being in the very fortunate position of having a show do well, we felt reasonably confident that the show would survive the merger. It was a little bit less stressful for us than it was for a lot of people.

New Showtime boss Chris McCarthy has been vocal about leaning into franchises. Are you already being pushed for a spinoff?

LYLE We’re aware that it’s something they’re interested in, and we certainly aren’t closed off to the idea. It would have to make sense. We have a couple of ideas.

How are you metabolizing the pressure on season two? People love to tear down the sophomore season of a first-year hit.

LYLE I describe it as … soul- crushing. (Laughs.) I think we came out of nowhere for a lot of people. Before it premiered, Jason Segel told us, “Don’t worry! There are three or four shows that everyone talks about and loves. There are three or four shows that everyone talks about and fucking hates. The other 595 fall right in the middle. Find a little audience and it’s fine.” We thought we’d be one of those, so this season feels different.

NICKERSON As a very insecure person, everything I’ve ever written has been such a terrifying experience that this actually doesn’t feel any different. It takes me forever to send an email, so I live in that baseline of pressure.

In the dual-timeline drama, Jasmin Savoy Brown left and Liv Hewson play the younger versions of characters played by Tawny Cypress and, in a season two addition, Lauren Ambrose.
In the dual-timeline drama, Jasmin Savoy Brown (left) and Liv Hewson play the younger versions of characters played by Tawny Cypress and, in a season two addition, Lauren Ambrose. Courtesy of Kailey Schwerman/SHOWTIME

Your co-showrunner, Jonathan Lisco, recently told EW that if you do your job right, cannibalism won’t be the most transgressive thing to play out on the show. Is there a line you don’t want to cross?

LYLE Tony Soprano is an absolute monster — but, because he’s so well drawn, you understand him. That’s what we’re aiming for. We have conversations about what could be too far, but it’s less about likability for the characters and more about the type of story. We never want to be shocking and salacious for the sheer joy of it.

Your season three renewal came early. Was that to get a jump on a potential writers strike?

LYLE The possibility of the strike is very real. All we can do is keep moving forward until we have to put our pencils down.

What do you want out of this negotiation — for your peers, if not yourselves?

LYLE The main issue is the future of the livelihood of writers. Frankly, it’s not tenable right now. We were incredibly fortunate that our first job was with Julie Plec on The Originals. She was an incredible mentor and threw us into the fire. We were first-year staff writers covering set, running tone meetings and working with actors. That’s invaluable. Nowadays that’s not the reality. I think it’s really shortsighted of the studios and the networks to create a scenario where only upper levels are being sent to set.

Do your staff writers go to set for their own episodes?

LYLE We had three writers who came to set and worked for free. We did our best to make that as painless as possible, bought them all their dinners. But we fought and ultimately lost to be able to pay their way. They were so hungry for that experience that they did it on their own dime.

The first season of Yellowjackets earned seven Emmy nominations, including one for outstanding drama series and two for writing.
The first season of Yellowjackets earned seven Emmy nominations, including one for outstanding drama series and two for writing. Momodu Mansaray/Getty Images

NICKERSON There is a devaluing of the place that the writer should occupy — both literally and metaphorically. Overall production budgets have grown, as the writing budget for most shows has shrunk or stayed the same. In some quarters of the industry, there is this idea that writers are interchangeable — that it’s more about the idea.

Speaking of Julie, how did working on a CW drama prepare you for the level of fan scrutiny Yellowjackets courts online?

LYLE There was this infamous moment with our showrunner, Mike Narducci. Every morning, we would all meet in the writers room. But one day, the door was closed. Everyone was wondering what was happening inside — and it turned out that Mike was fighting on Twitter, probably with a 13-year-old. He came out all frustrated, like, “You can’t reason with these people!”

NICKERSON He’s a former English teacher, so he was trying to talk about theme and story and just got nowhere. Fuel for a different kind of fire.

Are you taking any time off when you finish post on season two?

LYLE We go right into season three. We’re starting the writers room in April. No break.

NICKERSON We hope to take a little one at the top of the summer. Otherwise, we might die.

Well, it may be a very long break.

LYLE The network is like, “You can take a break in May and June!” I see what you’re doing … so generous. (Laughs.)

Interview edited for length and clarity.

This story first appeared in the March 16 issue of The Hollywood Reporter magazine. Click here to subscribe.

‘Swarm’ Boss Janine Nabers Peels Back the Layers of True Crime-Inspired Series and Its Antihero

[This story contains spoilers to the entire season of Swarm.] Following this weekend’s release of Swarm, viewers on social media are still abuzz (and attempting to recover) from analyzing the performance of Dominique Fishback as Andrea “Dre” Greene, a strangely warped sweet-faced psychopath serial killer in Amazon Prime Video’s new binge watch. And if you […]

[This story contains spoilers to the entire season of Swarm.]

Following this weekend’s release of Swarm, viewers on social media are still abuzz (and attempting to recover) from analyzing the performance of Dominique Fishback as Andrea “Dre” Greene, a strangely warped sweet-faced psychopath serial killer in Amazon Prime Video’s new binge watch.

And if you ask the seven-episode series’ showrunner, who co-created the show with Donald Glover (aka rapper Childish Gambino), Janine Nabers tells The Hollywood Reporter she expected nothing less from Fishback’s portrayal of Dre, who is introduced as a mild-mannered and friendly faced young Black woman who dotes over her foster sister Marissa (Chloe Bailey) while struggling to earn income to pay the rent in their small Houston, Texas, apartment. By the end of episode one, however, the audience sees Dre rapidly spiral into a psychotic and sociopathic chaotic chasm of delusion, wrath and vengeance after blaming herself for not preventing Marissa’s act of suicide.

The sisters were unwavering with their devotion for one another, but they also shared a parasocial love for another: a mega-pop superstar named Ni’Jah. The audience sees at the beginning of episode three — during a flashback — that Dre and Marissa shared an unbreakable bond of fandom for Ni’Jah (whose story clearly mirrors that of Beyoncé’s and her swarm of fans, the Beyhive). Marissa gives a clear directive to Dre in the flashback that Ni’Jah should be as important to Dre as they are to each other. “Ni’Jah is our queen, and we must protect her at all costs,” Marissa says with love and a fanatical glare to Dre, who enthusiastically agrees.

By the third episode, the audience is a few years removed from Marissa’s death and are four murders in by the blood-stained hands and face of Dre. She still possesses that sweet demeanor at first glance, but underneath is the darkness that will see her continue to dive headfirst into a delusional world of Stan-ism over Ni’Jah. She self-ordains herself as Ni’Jah’s Number One within a group of fans affectionately known as the Swarm, and Dre will not tolerate any disrespect of her queen. Victims, unknowingly, find out in the most gruesome ways that there is no mercy once they have run afoul of Dre’s creed for Ni’Jah. Dre asks her victims a simple five-word question: “Who is your favorite artist?” The right or wrong answer is literally a matter of life or death (mostly the latter for those Dre seeks out or meets by happenstance).

Swarm, through a horror lens, tackles themes of marginalization of individuals who don’t seem to fit in; a failed government system for unwanted children in foster care; and the effects of social media. Below, Nabers chats with THR about the creation of her and Glover’s series being inspired by true-crime events, and how she and the producers took extra care of Fishback on set.

Dominique Fishback is phenomenal as Dre in this show. How did you go about casting her as the lead in the series?

Yeah, she’s pretty incredible in it! I think it’s something where you meet someone and you see them. She’s a theater nerd and a writer, too. She’s so bubbly and warm and caring. And then she attacks this character — and she’s so terrifying! The way she could turn it on and off, I have just never seen anything like that in anyone before.

When we sat out to cast this show, I remember talking to Donald [Glover] about it, and how with Atlanta, no one really knew who they were. When they started out with that show, they were completely unknowns. And so, I was like, “It would be really dope to go find someone who is totally unknown because this character is so fringe and out there.” I felt like we should go out and lead with someone no one really has seen before so that they wouldn’t have this preconceived notion of who they are. And [Donald] was like, “Yes, totally!”

And Dominque was such a big get because we were huge fans of hers. She has been in a lot of stuff; I mean she was incredible in Judas and the Black Messiah. And so, I was like, “If we’re going to get someone for the pilot, let’s ask this budding movie star.” It would cost us nothing to see if she would want to this bit role. And so, when she read it, she gravitated toward the role as Dre — and that was amazing.

So, Dominique wasn’t initially offered the lead part of Dre?

We were considering her for the role as Marissa. And she came in and was like, “Yeah, I can do it , but I actually want to do the main character.” And we were like, “Whoah.”

Chloe Bailey and Dominique Fishback in Swarm Courtesy of Warrick Page/Prime Video

How did you safely navigate Dominique through such a dark and twisted role? What made you feel she could pull off the multiple complexities of a serial killer without a hitch as Dre?

We had a sensitivity coordinator. We actually had two sensitivity coordinators, because we shot in L.A. and Atlanta. And we also had an intimacy coordinator. The intimacy coordinator was for the safety of, well kind of like the safety of the sexual space people live in on the set. And sensitivity coordinators [focus] on the psychology of the action and the violence, the mental state of that. [Dominique] had her own therapist who she spoke with when she needed to. And I was on set all the time. It was just one of those things where if she needed something, we would figure it out, whether she needed space or just a moment.

One of our sensitivity coordinators was a Black woman who was just great in working with [the actors] when it came to issues regarding violence and trauma. I think that was helpful for Dominique, because she is someone who feels so much. I mean, even if it was just having someone standing besides her. This was especially true when we were filming episode five. So, it was a group effort where anyone wanted to give her space or whatever she needed at that particular time.

Let’s discuss the audacity of this series. The show is not only blunt trauma to the victims on the series, but it could be triggering to some viewers watching. Many of the scenes were gruesome, yet very satirical and funny at the same time. How were you and Donald Glover able to walk that line, where you didn’t take audience members too deep down a hellish rabbit hole?

With Swarm, we are putting Dre at the helm of her own story. We are putting her… or giving her the authority within the violent story. So, we are giving her authority within these violent acts. I look at this like, “Why do white guys get to do all of this? Why do white guys get to have all the fun, in terms of the Tony Sopranos and the Breaking Bad people?” That space of psychological breakdown in violence to get something that you absolutely need — which is what drives the series — has always been reserved toward the psychology of white American men.

And I think we were really excited just to explore, what are the triggers for vulnerable women in America? And, how can we just let her flag fly with this sort of brutal way of approaching this story? This Black woman is just destroying shit because she is on a mission. It sort of feels like our Pulp Fiction.

Swarm co-creators Janine Nabers and Donald Glover
Swarm co-creators Janine Nabers and Donald Glover. Getty Images for Prime Video

Are there any hidden messages in the series? The show seemed to take inspiration from the life of Beyoncé and her fans, known as the Beyhive. Are there things in each episode that viewers might miss unless they take a second look?

You know, I don’t believe in hidden messages. Honestly, we looked at stories that happened that were on the Internet, or stories that happened that were on the news and had these very violent undertones, but a Black woman was at the center of all these different stories that happened within a two and a half-year period.

So, in a lot of ways, this story is: This is America. We’re just taking a Black woman and giving her the language and the experiences that have existed and happened over this span of two and a half years. That was the fun of making the show for me. We thought that after doing all the research and putting it together, people might watch and say, “Oh! I know what that is! I remember when that happened …”

Can you expound on episode four when we see Dre travel to Tennessee and she is lured in by a cult of white women? For the first time, the audience learns a bit more about Dre’s origins as the cult’s leader — played by pop-rock singer Billie Eilish — breaks through Dre’s shell. We find out that even as a child, Dre had a propensity for violence with the “spilling the milk” therapy scene. It was a phrase Dre used with her grandmother after events that led her to cause others to bleed. 

The idea of episode four, you know, there is a cult that existed in the world that was very prominent during that time. And that is the kind of true-crime element to that episode. And I think that when people think of the idea of artists or celebrities, there is this idea of thinking about the cult of Taylor Swift, or the cult of the Beatles or whatever.

What we were really interested in was just seeing someone who worships at the altar of “something,” and [exploring] this idea of, what is the cult of the mind? How can we see the parallels between people who devote their lives to brainwashing the minds of people and indoctrinating them, and then someone whose music may brainwash someone into thinking they are friends with them or is one of the family? What is that? So, that episode was just us looking at those two dynamics. And if it’s a battle of wills, who is going to win?

Our casting director is brilliant, and when she pitched [Billie Eilish] for the role of Eva, we were like, “Oh, she’s really cool! Let’s go with it!” And it worked out. She was great!

Dre (Dominique Fishback) with Billie Eilish’s Eva. Courtesy of Prime Video/Amazon Studios

Was that the same process for casting Paris Jackson? Her lines in episode two about no one really accepting her as a Black woman were hilarious and familiar.

Absolutely! When the scripts went out to all the actors, and they all read it and we had very thoughtful conversations with all of them. And they were all so game! When you look at this show, there are a lot multi-hyphenates. I mean, people who are writers, singers and actors. I respect that. And obviously, that is who Donald is as well.

So, our show was a community of people who were gifted in a lot of different things that contribute to us making something cool, and allowing it to exist in this metaphysical space. Because when you cast someone like Paris or Billie Eilish, there is going to be this element of modernists.

What was it like working with Malia Obama in the writers room?

We had two incredible staffers, Malia and Karen Joseph Adcock. They are both in their twenties; Donald and I are older and have kids. I mean, we know what’s happening in the streets, but it was nice to have young blood in the room to talk about the Internet and stories and storytelling. We talked about what is cool and, how can we tie it with TV? We talked about what worked and what didn’t work. All of that was just a lot of fun.

Malia is very smart and so talented. She’s hungry and wants to learn more. And as Donald said on premiere night, it feels very much like a family. It was a really nice blend of personalities and tastes. And I think that is when making a show is really refreshing, when something like that happens.


Interview edited for length and clarity.

Swarm is now streaming on Amazon Prime Video.

‘Parachute’ Review: Brittany Snow’s Directing Debut Tackles Addiction, Eating Disorders and Anxiety With an Impressively Light Touch

This portrait of a relationship between a woman with an eating disorder (Courtney Eaton of 'Yellowjackets') and a boy with co-dependency issues (Thomas Mann) won two awards at SXSW.

Actor Brittany Snow (the Pitch Perfect franchise, Hairspray) just about nails it as a writer-director with her first feature, Parachute, a rom-dram set in New York City and co-written with Becca Gleason (Summer ‘03).

This astute, impressively honest portrait of a complicated relationship between Riley (Courtney Eaton from Yellowjackets, who picked up a prize for her performance at SXSW), a young woman with an eating disorder and addiction issues, and Ethan (Thomas Mann, Me and Earl and the Dying Girl), a guy disposed toward co-dependency, is perhaps a smidge messy structurally. But then again, so is life. Viewers, especially those in the same demographic as the protagonists, will probably cut the film and its vividly drawn characters some slack as they try to navigate territory thickly peppered with emotional landmines.

Covering a few years in Riley’s mid-20s (which is, in itself, a refreshing choice given so many love stories these days zero in on tight, narrow time frames), Snow and Gleason’s script opens with Riley freshly discharged from a rehabilitation facility. We gradually learn she’s been in treatment for disordered eating habits and what seems to be a love and sex addiction. It’s not clear which is the more acute problem, but the prescribed solution is therapy with Dr Akerman (Gina Rodriguez, Jane the Virgin) and attendance at 12-step meetings. Although Riley’s mother Janice (Mle Chester) is nowhere in sight for the first two thirds of the film, she’s given her daughter Riley access to a swish loft apartment and a credit card that never seems to get maxed out.

On her first night of freedom, Riley goes to a party with her best friend Casey (Francesca Reale), where she meets Ethan, who has himself just been released after a short spell in jail for a minor offense committed while drunk. A spark of attraction leads to a spontaneous dinner date and then, despite Riley’s insistence that she’s supposed to avoid relationships for a year, an attempt at sex at Riley’s place.

But the moment Ethan takes his clothes off, Riley’s extremely volatile relationship with bodies — both her own and other people’s — triggers a freak-out. Used to a supportive role, thanks to a childhood spent with an alcoholic father (Joel McHale, met later along with Jennifer Westfeldt as Ethan’s mother), Ethan calms Riley down and persuades her to spend the evening just cuddling in a makeshift fort made of blankets and fairy lights.

This ends up setting a pattern for their muddled relationship going forward, with Riley too insecure about her body and obsessively hung-up on an ex-boyfriend to allow herself to have sex with Ethan. However, they are emotionally intimate like a romantic couple, with Riley referring to Ethan as her “best friend.” (Casey doesn’t seem to mind being supplanted given that she’s increasingly coupled up with Ethan’s roommate Justin, played by Scott Mescudi, aka Kid Cudi.) It’s blindingly obvious, sadly, that Ethan is profoundly in love with Riley, and doesn’t see any of the imperfections she neurotically sees in herself as he affectingly declares in a key monologue.  

The smart thing about the film’s grasp of human frailty is that it’s recognized that this fluctuating freight of feeling isn’t healthy for either of them. The dialogue doesn’t quite spell out the significance of the title, but in a director’s statement, Snow talks about how “there is always someone who is the jumper and someone or something being the parachute. We all use ‘parachutes’ to deal, whether it be other people, food, TV, social media, podcasts, shopping, sex, drugs, booze. We are all trying to lessen the fall.”

And unlike 95 percent of most films about love, Parachute also recognizes just how much we use other people in every sense — selfishly, cruelly and without any thought of the consequences. Instead, here Riley is regularly called out for her actions and her solipsism — or narcissism if you wanted to be less kind — which often negatively affects those around her. Her biggest problem isn’t that she’s failed to find love from someone else; it’s that she doesn’t love herself.

Perhaps the above makes this sound like some bleak therapeutic parable, and who doesn’t hate that crap? (I actually cheered when, toward the end of the film, Riley meekly confesses to Dr. Akerman that she hates therapy.) In fact, Snow has the light touch of a skilled comedian, and has managed to rustle up an impressive roster of similarly skilled actors to fluff up the proceedings. That goes above all for Eaton and Mann, but also Dave Bautista, cast here as a kind but profoundly untalented impresario of the murder-mystery supper club where Riley gets a job.

But Eaton is the big breakout here, knocking it out of the park with a performance that never lets her character off the hook for her flaws, but never stops being mesmerically watchable. Given that Riley is constantly judging herself against other women — a thought process illustrated by flickeringly edited montage-ettes of swiftly observed body parts — Eaton is exceedingly well cast as someone who is unquestionably stunningly beautiful but in an unconventional enough way that it’s plausible she would feel insecure. Of course, even women who look like, say, Karlie Kloss or Bella Hadid — or whoever is the latest supposed paragon of beauty — learn to hate their own bodies if they spend too long looking at Instagram, and Parachute connects those dots very clearly without ever feeling preachy.

There have been movies before about women with eating disorders. But this may be one of the first for the Gen Z and younger generations that nails just how tentacular the psychology of such conditions can be, entwined with family dysfunction, social media influence and the run-of-the-mill patriarchy.