Description

Episode 86: The Wrong Paris

Welcome to The Wrong Paris, where Miranda Cosgrove trades her metal welding torch for a reality dating show catastrophe, and Frances Fisher (Rose's disapproving mother from Titanic) finally gets the role she was born to play: Netflix rom-com grandmother. This is cinema, people.

What You're Getting Into: Dawn (Miranda Cosgrove) is a hip country artist saving money in a literal jar to attend art school in Paris, France. When she gets accepted but can't afford tuition, her reality-TV-obsessed sister convinces her to audition for "The Honeypot" - a dating show where contestants can choose between the bachelor or cold hard cash. Plot twist: the show flies them to Paris... Texas. Yes, they spend $120,000-180,000 on private jet fuel just to circle in the air for nine hours and land 45 minutes from Dawn's house. The math isn't mathing, but at least the production budget went somewhere.

Peak Dumpster Moments:

• Dawn keeps her Paris fund in a glass jar in a barn instead of investing it like a sensible hedge fund broker, missing out on years of compound interest
• The "Honeypot" show's fundamental flaw: contestants can choose the money AND still date the bachelor after filming, making the entire premise economically nonsensical
• Miranda Cosgrove's character is a metal artist without the massive blacksmith arms typically required for the job
• Trey McCallum III has an eight-pack - which we determined is two abs too many (six is fine, people)
• The mechanical bull challenge where Lexie requests "low and slow" mode and basically gives a lap dance while everyone else got violently thrown off
• A mud-pit catfight between Dawn and Lexie during cowboy boot camp that's exactly as ridiculous as it sounds
• Cowboy Magic horse shampoo product placement that we actually applaud for authenticity
• The shirtless horse-washing scene shot exactly like a bikini car wash, complete with slow-mo and wind machines

The Cast Reunion: This movie features half the cast of To All the Boys I've Loved Before, including Emilia Baranac (Jen) and other familiar Netflix faces, because apparently Netflix has a Rolodex of actors on speed dial for these productions.

Reality Show Economics: The Honeypot's premise makes zero sense. Why would anyone choose the bachelor when you could take the money AND date him after production wraps? It's double-dipping on winnings, and we spent significant time calculating the flawed game theory. Also, they're apparently offering $20,000 just for appearing, plus challenge winnings up to $10,000. For a dating show filmed in Texas.

Technical Complaints: Scott goes on an extended rant about Netflix's chromatic aberration lens choices, the weird smearing effect in their cinematography, and how they intentionally make things look less crisp to avoid the uncanny valley of high-resolution filming. Also, the band at the bar is hilariously out of sync with the music.

The Verdict: Solidly mid. A respectable 6.1 on IMDb and a 2.5-3 dumpsters from us. It's not the worst thing we've ever seen, but it's so beige and formulaic that it blends into every other Netflix rom-com. Miranda Cosgrove is more enjoyable here than in Mother of the Bride (where she played an Instagram-obsessed bridezilla), mainly because she has a bigger role and isn't just being entitled. The movie is "meh" personified - nothing particularly standout, nothing particularly offensive. Just... beige.

Coming Up Next: We're headed to Oxford (again) with My Oxford Year, starring Sofia Carson. It's another movie about an ambitious young American woman who goes to Oxford University and meets a charming local who changes her life. Yes, this is the third Oxford movie we've encountered. No, we don't know why everyone keeps making these. The cast includes Catherine McCormick from Braveheart as the token older actor, and a bunch of randos. Netflix rom-com formula remains intact.

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