Lana Condor and Zoe Colletti star as a pair of high school best friends who pledge to live their best lives in senior year, only to die and become ghosts. In a recent interview, Mason Versaw, who played Jake in the Mean Girls musical, talked to Aparna Brielle about the Jake/Riley storyline.

A TV series is not and should not be a protracted movie. Each media has its own set of advantages and disadvantages. However, there are several advantages that movies offer that show do not.

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Aparna Brielle and Mason Versaw

Co-stars of Netflix’s new limited series Boo, Bitch, spoke with Collider about their experiences on the show. Brielle plays Riley, the popular cruel girl, and Versaw plays Riley’s past love interest, Jake C. “It was incredibly interesting for me,” Brielle remarked. It can be difficult to break in through the door in Hollywood. There have been so many projects when I came so close and then fell short, but I learned something from each one.“

Versaw was the first to be cast. He received the sequences from the show in May of last year, 2021. After submitting his self-tape, he didn’t hear back from the show for a while.

“There was this moment where they started moving pretty quickly on it, so they were trying to get the chemistry reads in. I recall a fairly frantic turnaround to get it in there, but it was a pleasant audition process for me. Then I did the chemistry read with Lana [Condor], and the rest, as they say, is history. It was a smooth procedure.”

Brielle really auditioned for the role of Riley’s henchwoman Leah. She figured it was finished and went on after reading for her and not hearing back. A week later, they requested her to read for Riley, which she did. She eventually received a call asking whether she could participate in a Zoom with co-showrunners Lauren Lunherich and Erin Ehrlich. It was there that they informed her that she had been cast.

Brielle elaborated:

“It’s fascinating; I’d heard they were looking for something with Riley but weren’t sure what. I thought it would be amusing to play up the terrible girl, but I also wanted to emphasize her insecurity and the fact that she is a genuine person who is lashing out because she lacks self-control. She’s just a teen trying to keep her place at school. It was a lot of fun getting to do it.”

Eight-Episode Season

Around the middle of the eight-episode season, fissures in the girls’ friendship develop into rifts and then chasms, and the narrative begins to take up. As Gia deals with a new romance and the approaching end of a friendship, Colletti’s never-quite-convincing depiction of awkwardness takes on softer, sweeter aspects. But it’s Condor’s outrageous portrayal of obscene arrogance that truly sets the tone. She rose to prominence as a genuine darling in Netflix’s To All the Boys films and seemed to embrace the opportunity to play the asshole.

Regardless of Its Supernatural Twist

Boo, Bitch isn’t particularly concerned with questions of mortality; the looming threat of permanent ascension is treated as a heightened version of high school graduation, after which even previously close friends like Erika and Gia may go their separate ways into the unknown. There is, it turns out, something genuine and relatable hidden beneath all of Boo, Bitch’s exaggerations. If only it weren’t so difficult to find.

For instance:

It’s one thing to sit through a bumpy first act if you’ve committed to viewing the entire film. It’s another to persevere when you have to decide whether or not to continue watching every half-hour or so. Boo, Bitch, from Erin Ehrlich (Crazy Ex-Girlfriend) and Lauren Iungerich (On My Block), has a dismal start — and while it eventually evolves into something snarky and genuine enough to be entertaining, those early episodes make a weak case for sticking around long enough to find out.

The limited Series’ First Several Chapters Are Challenging.

Unfortunately, the first few chapters of the limited series are difficult to get through, with a harsh tone that aspires to youthful irreverence a la Mean Girls or Glee but only sporadically achieves it. Despite its obnoxious title, Boo, Bitch isn’t nasty.

As a result, we’re frequently left with a series of jokes that have the tempo of snarky comedy — the smash cuts, the rapid-fire dialogue, the purposely awkward pauses of silence — but lack the cutting wit to back them up. A teenage girl giving birth in the middle of a hot tub party may be a very dark or lighthearted joke. Boo, Bitch can only guide it toward glib.

Conclusion