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  • Trixie Mattel and Katya’s Commentary on Falling For Christmas Is Infinitely More Watchable Than the Movie Itself

    Trixie Mattel and Katya’s Commentary on Falling For Christmas Is Infinitely More Watchable Than the Movie Itself

    Just when you thought there was nothing that might make Falling For Christmas redeemable, along come Katya and Trixie Mattel to weigh in with their “expert” commentary via their show, I Like to Watch. And, most important of all, a frank account of all the ways in which the movie blows through their tongue-in-cheek way of dissecting it. Better still, they tore it apart in spite of Lindsay Lohan herself making a cameo at the beginning with a pre-taped video as she urges them to enjoy her new movie because, “Who doesn’t love a cozy Christmas?” Well, Falling For Christmas doesn’t exactly make one feel “cozy” so much as incredibly uncomfortable, therefore in search of any excuse to get up from the couch and not watch.  

    After Lohan’s little message, Trixie notes, “It’s gonna make it really hard to make fun of this movie, but not impossible.” Katya confirms, “Oh no, no, no—we’re gonna tear this movie apart.” And all one can say to that is: thank fucking god/fucking finally. Because, for whatever reason, the majority of reviews have heralded it as “charming” and “a true comeback” for Lohan. Who has “come back” so many times at this point, she might want to ask herself if she ever truly left… has, in fact, been here all along and mostly met with a lukewarm reaction post-Mean Girls (a movie Trixie and Katya watched on their show just before this because, well, it will always be Lohan’s apex). In any case, it doesn’t take long for Trixie to stop one of the first few scenes and comment on Sierra Belmont’s (Lohan) boyfriend, Tad Fairchild (George Young), prattling on in what he seems to think is relevant social media lingo. Trixie accordingly lambasts, “This is like a boomer sat down to write, ‘Things I don’t like about the kids and their phones.’”

    The queens flash us forward to Jake Russell (Chord Overstreet) walking around the corner and crashing into Sierra at the Belmont Hotel after trying to beg her father, Beauregard (Jack Wagner), for some capital to keep his more “mom and pop” North Star Lodge going. Causing her to spill her drink on her “Valenyagi” (presumably a way important made-up designer), Trixie and Katya burst out laughing at how upset Tad is by the stain, with Katya asking, “Is he a gay f-word?” Trixie replies, “He’s taking loads at The Abbey.” Letting some more of Tad’s dialogue play, Katya adds, “This is giving, like, John Early does Sesame Street on acid so far.” But really, that is still too kind an assessment.

    Katya opens the floodgate to show some random scenes (not that all of them aren’t) of particular schmaltz by declaring, “We’re crossing the Tropen Zee Bridge to get into Trope Town to observe a few cliches.” Among them, Sierra having a dead mom, the North Star Lodge being the Little Shop Around the Corner to Belmont’s Fox Books, needing a Christmas miracle and giving sentimental meaning to trite objects like a snow globe or tree topper in the form of a giant angel.

    Trixie and Katya then skip to the scene before Sierra is about to fall of the cliff and get her required amnesia for the movie to continue (even though Jake should already recognize her since he literally just saw her in the hotel). All Trixie can really comment on, however, is Lohan’s hot-pink ski suit, describing, “She looks like one of the Housewives… in Salt Lake City.”

    More arbitrary cuts ensue, this time to the L.A.-ified Santa (you know, looks like he got plastic surgery and veneers) in the movie who thinks he’s passing as mere “seller” at one of the holiday market stalls. A scene of him making the shushing gesture in what he imagines is a “playful” way prompts Katya to scream, “Oh! That was so scary.” Trixie agrees, “It’s a little creepy.”

    Not as creepy, perhaps, as Tad bursting into a stranger’s ice fishing hut and shouting, “Sanctuary.” To which Katya asks, “What is he doing? Gay Frankenstein?” Naturally, this is just the tip…of gay shade directed at Tad, who is clearly the scene stealer for them in Falling For Christmas (further proving that Lindsay has lost her touch, even with the gays).

    Trixie observes him talking to Ralph (Sean J. Dillingham)—no longer a stranger—in the ice fishing hut and decides, “He looks like a go-go boy talking to a bartender at The Eagle.” Katya confirms, “This is the gayest man I’ve ever seen in my life… Ralph would dick his little f-word ass down.”

    Occasionally getting back to the theoretical star of the movie, we’re shown Sierra screaming at the sight of a raccoon in her window. Trixie remarks, “I will say city people are funny. They think every animal is out to get them.” But it doesn’t take long for the drag duo to get back to the far greater sexual tension between Ralph and Tad, the former of whom winks and assures, “I got big feet” after dragging Tad through the treacherous snow pass. To that, Katya says, “Merry Fist-mas.”

    Forcing themselves to look once more at the so-called hetero plotline, they have to make a comment on the angel again (since this movie really beats the viewer over the head with its sentimental importance to Jake). As we see a scene of Jake removing it from the drawer, Trixie offers, “I would love for them to pull out the angel and maybe he did like DMT or something and he pulls out the angel and the angel goes, ‘Hey, who’s the wise guy?’ I would love for that to happen. Like some kind of cartoony voice like that.” To be sure, going in a more balls out camp direction might have been the only thing that could have redeemed Falling For Christmas. But, again, that’s apparently what Trixie and Katya are here to do with their commentary.

    Continuing to talk about this goddamned angel, Jake explains to Sierra, “Carla and I bought it together, and the she got sick…” Trixie finishes, “…of me and she moved to Tucson.”

    The fixation on the homoerotic sublot of Ralph and Tad persists anew when Trixie and Katya cut to Ralph handing Tad some beans after lighting a fire for them to sit in front of for the night. Of this, Trixie notes, “So I guess we know who’s bottoming tonight.”

    Fast forwarding us along (because, truly, not much is missed with all the scenes glossed over), we get to the moment where Beauregard finally realizes his daughter has been missing. Taken to her room to look for some sign of what might have happened, he sees her luggage is still in her closet and informs his employee, “My daughter never goes anywhere without her luggage.” Trixie translates, “Hmm, she left her drag.”

    Another scene of Tad prompts Katya to wonder, “Is he gay or annoying?” But no, as far as Trixie and Katya are concerned, they gay connection between Ralph and Tad remains to the end, with Katya announcing, “I hope they have sex. That would be so fierce.”

    Edging us ever closer to the merciful conclusion, Trixie and Katya get to the scene of Sierra pulling a Laney Boggs by walking down the stairs in a red dress ostensibly just so she can be ogled by the guy who has been bottling his feelings for her all this time. As Jake’s daughter, Avy (Olivia Perez), oohs and ahhs over it, Trixie says what we’re all thinking by declaring, “It’s a little Plain Jane.” Katya tries to offer a compliment when Sierra dons an accompanying blazer in shimmering silver, “I love the blazer though. She looks like Dorothy Zbornak.”

    Another cut to Tad in his Christmas attire and slicked-back hair prompts Katya to reiterate, “King of the F-words.” Trixie elaborates, “We can’t say it on YouTube. But let’s just say, I fuh-got what his sexuality was.” Katya shrugs, “He’s homo for the holidays that’s for sure.”

    Trixie breaks down this same look at the press conference he’s at with Sierra after her memory is “recovered” by stating, “He looks like a toy soldier.” Katya then impersonates Tad saying, “She’s gonna watch me have sex with men.”

    But no, ultimately, Sierra won’t stick around for some rich queen. She’s gone “slum mountain man” and she won’t go back. Thus, as Katya tells it, “And finally Tad goes full f-word. He gets his ruby slippers and sashays down that yellow brick road towards the glory hole.”

    Of Sierra’s sudden lack of interest in being a rich bitch, Katya shrugs, “I love a four-day complete personality shift.” Even up until the end, however, it’s Tad that neither one can get over, with Katya saying, “The real Christmas miracle is him not knowing that he’s gay” and (after Tad asks one of the hotel staff, Terry [Chase Ramsey], out for New Year’s), “Well I’m gonna say this: it has more queer representation than Bros did.”

    So it is that the duo decides to succumb to Falling For Christmas like freezing to death by playing nice and giving it credit for what it does “have.” For Trixie, “It had surprise gay/bisexual innuendos.” For Katya, “Amnesia.” For Trixie (again), “It had snow.” For Katya (again), “Ice fishing.”

    There you have it, even Falling For Christmas gets a piece of the Christmas crown, as though Cady Heron herself was doling it out.

    Genna Rivieccio

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  • Millie Bobby Brown and Lindsay Lohan: A Teen Star Correlation

    Millie Bobby Brown and Lindsay Lohan: A Teen Star Correlation

    Being that Lindsay Lohan was the same age as Millie Bobby Brown when her career was reaching a zenith, it seems somewhat fitting (or at least cyclical) that both should have a movie out on Netflix at the same time. While the former’s “film” (a schlock-y Hallmark wannabe) is further proof that she made a career out of simply being “teenaged,” the latter’s proves that she has more enduring staying power. And, to be frank, more talent and acting range. Both qualities have been shown in the short length of her career, which is starting to expand more heavily into film with the end of Stranger Things on the horizon—Enola Holmes and Enola Holmes 2 being part of that steady segue.

    And yes, Brown, like Lohan, seems to understand the value of clinging to the Netflix tit for work, even amid cries of the online film and TV giant “not being what it once was.” Sort of like Lohan herself, whose steady stream of hits only flowed when she was a youth, mainly as a result of sucking on Disney’s tit instead of Netflix’s (then still mailing out DVDs to subscribers). This included a succession of “feel-good” movies that started with The Parent Trap in 1998 and continued at the dawn of the 00s with Life-Size, Get A Clue, Freaky Friday and Confessions of a Teenage Drama Queen. All, of course, Disney-backed endeavors that complicated things when Lohan opted to embark upon the requisite Disney teen star “gone bad” route. Right around the time she decided to reteam with the juggernaut for the production of Herbie: Fully Loaded (after Paramount released Mean Girls in ’04).

    A title that, obviously, left plenty of room for the tabloids to jestingly riff off of as Lohan was hospitalized for “exhaustion” and, oh yeah, an infected kidney. At the same time filming was going on, her partying (a.k.a. going out to clubs back when they were still bankable due to people actually being sentient, sexual creatures) was coming under more scrutiny. After all, she had just turned eighteen and was far more prone to wanting to sow the oats that being a highly-paid actress permitted (see: her being on the cover of a May ’04 Us Weekly with the headline, “Teens Gone Wild: Older men, all-night partying, extreme PDA…”). Plus, just as Britney and the Olsen twins before her, the obsession with Lohan “being legal” was part of the Nabokovian bread and butter that sold magazines in the late 90s and 00s. Lohan even appeared on an issue of Rolling Stone the year she turned eighteen with the headline, “Lindsay Lohan: Hot, Ready and Legal!”

    In the decade when Millie Bobby Brown would come of age in her fame, the nascent #MeToo movement bubbled to the surface in 2017, when Brown was thirteen years old and one year into her stint as Eleven on Stranger Things. By 2020, the year of her sixteenth birthday (in addition to Miss Rona’s havoc), Brown had had enough of the overt sexualization of her body despite being a child. Something that Billie Eilish avoided full-stop by covering her own in baggy clothing that spoke to her being the twenty-first century ideal of a sexless pop star. Brown wasn’t exactly “flashing it” either, least of all à la Britney or even Lindsay—usually while they were out drinking and drugging to the tabloids’ (and TMZ’s) delight.

    Brown did none of these things, and was not nearly as ridiculed or hounded as someone such as Lohan. Yet Brown grew up in an era where so much less is “tolerated.” Including the acceptance of men fetishizing underage girls in this way no longer being so “welcomed” by the media. Hence, the freedom of Brown being able to declare on her Instagram (a tool that 00s teen stars didn’t have the luxury to access), “There are moments I get frustrated from the inaccuracy, inappropriate comments, sexualization, and unnecessary insults that ultimately have resulted in pain and insecurity for me.”

    On one level, somebody like Lohan would probably want to say, “Bitch, you don’t know from inaccuracy, inappropriate comments, sexualization or unnecessary insults.” On another, maybe Lohan can take comfort in having paved the way for subsequent teen stars to have far less of a hard time (all while narcissistically assuming it’s still “so hard”). Brown, too, wants to offer that courtesy to subsequent generations of famous teen girls, as made clear when she added to her sixteenth birthday comment, “I feel like change needs to happen for not only this generation but the next. Our world needs kindness and support in order for us children to grow and succeed.”

    Alas, it appears as though the bullying nature of tabloid journalism (parading as newsworthy events) has only transferred with more unmitigated vengeance to the online landscape. The germinal example of this being Perez Hilton’s illustrious blog (that was, let’s be honest, far more deliciously cunty in the 00s). An entity that came full-circle when both Perez and Lindsay, at one of her many nadirs in 2012, decided to use one another to their respective advantage by cameo’ing on an episode of Glee called “Nationals.” And, speaking of gays, Brown’s closest brush with intense online bullying was when a series of memes attributing her with homophobic quotes that she never said bombarded her Twitter account. Then just fourteen, Brown decided to quit the medium (long before it was chic to do so in 2022). Lohan, simultaneously loving and hating celebrity, likely wouldn’t have “quit” being present in magazines had it even been an option.

    Brown and Lohan’s divergence when it comes to romantic prudence is also markedly different. For while Lohan was dating Wilmer Valderrama—undoubtedly before she turned eighteen—a notorious player with a penchant for courting women with age gaps (though not to the same extent as Leonardo DiCaprio or Jake Gyllenhaal), Brown has kept it decidedly staid and age-appropriate with her current boyfriend, Jake Bongiovi (the spelling of which is somehow supposed to make us forget he’s Jon Bon Jovi’s son). Lohan’s mistake with her first high-profile romance at the apex of her career didn’t account for how Valderrama would, just a year after the breakup, describe, among other details to Howard Stern, that Lindsay was “a big fan of waxing.” So yeah, exactly the type of sleaze someone should be dating when they’re tabloid fodder already. That Brown is taken more seriously as an actress than Lohan ever was has also contributed to the “safe space” form of her celebrity. Less laughingstock, more tissue box stock (that’s a tear reference, not a cum one).

    However, going back to the similarities between Lohan and Brown, the ages at which each actress was when they got their first major start also eerily align, for Brown was twelve when Stranger Things debuted, and so was Lohan when The Parent Trap arrived in theaters. What’s more, when Lohan was seventeen and eighteen, her two biggest movies came out—Freaky Friday (2003) and Mean Girls (2004), respectively. Brown has also released her two biggest movies (so far) around the same age, being sixteen when Enola Holmes came out and eighteen upon the arrival of Enola Holmes 2.

    In noticeable contrast to Lohan, Brown’s future beyond teen stardom seems far brighter (more like Emma Watson’s post-Harry Potter…at least Serious Roles-wise). Not just because she has that arcane aura of “British dignity” (ironic considering how undignified that country is), but because she’s grown up in a generation that has proven itself to be the antithesis of millennial youth values: drinking and clubbing. To boot, Brown also has the advantage of “setting the record straight” on social media that no millennial star ever had.

    Genna Rivieccio

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  • (Not) Falling For Shitmas

    (Not) Falling For Shitmas

    There’s a famous line from Sunset Boulevard said by Joe Gillis (William Holden) that goes, “Sometimes it’s interesting to see just how bad bad writing can be. This promised to go the limit.” Needless to say, that’s the only clear motivation for watching the utterly uninspired in title (in addition to content) Falling For Christmas. And while most Netflix movies (imitating Hallmark ones) of this nature would fly under the radar, Falling For Christmas is meant to be some “special,” “big deal” event (even though Christmas With You starring Freddie Prinze Jr. probably should have gotten more publicity instead). All because none other than Lindsay Lohan is starring in it for what is meant to be her umpteenth comeback. And, just like every other “comeback” she’s attempted (Labor Pains, a 2012 SNL hosting gig, the Oprah-backed docuseries, Lindsay, an ill-advised MTV reality show called Lindsay Lohan’s Beach Club, etc.), this one also seeks to prove why some people should just keep “living their best life” in Dubai.

    Alas, Lindsay clearly needs the money to keep affording those nips and tucks, those fillers and drillers. And so, she engaged in a little something called Lies We Tell Ourselves. Namely, when it comes to shaking our ass for the cash. Maybe that’s how she managed to attempt billing the movie as follows: “I feel like what we don’t have enough of right now is romantic comedies. And that’s exactly what it is. It’s a really fun, uplifting romantic comedy. And it’s actually really funny.” Notice how insistent she is with these repetitive lines, in what amounts to one of those “the lady doth protest too much, methinks” instances. She then added, “When I read the script and when we started to film it, I didn’t realize how physically funny we were going to be. There’s a lot of physical comedy in it, which I really liked doing—it’s one of my favorite things to do, which I haven’t got to in a while.” But no, just because she has red hair does not mean she’s got the Lucille Ball knack for comedy, slapstick or otherwise.

    One could say the first “act” of physical “comedy” is set against a horrible CGI-generated backdrop on a snowy mountain where Lohan’s character, Sierra Belmont, is taken by her “influencer” boyfriend (who looks, to be frank, a bit too old to influence much in an ageist society like ours), Tad Fairchild (George Young). According to him, this is the place to be because “one of the top off-trail skiers in the country geotagged this secluded spot.” Such a line being part of Tad’s “persona,” one that makes us wonder how anybody, even a vapid rich puta, could stand to be around him, let alone agree to an engagement proposal. Then again, maybe Tad reminded Lindsay in some way of one of her many douche-y exes (whether “steady” or fling), from Harry Morton to Stavros Niarchos to Egor Tarabasov, and she just ran with the inspiration for getting into the mindset of a character that would stay with someone so insufferable.

    But before all of this, Falling For Christmas already opens in a manner both totally random and generic, for the first scene is a brief few seconds of some ski lifts soundtracked by cornball music before we see an overhead shot of Sierra in a sleep mask. It’s the quintessential “You’re Seeing A Pampered Rich Girl” shot. Or, at least, someone who wants to be perceived that way (see also: Holly Golightly and Jenna Rink). We’re soon informed that Sierra is at a hotel when the phone rings and she gets a wake-up call from the concierge. To further give “insight” into her rich bitch personality (that Lohan doesn’t play up nearly enough) she hangs up the phone while the woman is still talking to her. We soon learn that Sierra spends a lot of her life in hotels—specifically, Belmont hotels. For she’s the heiress to that name. And yes, if you’re thinking it sounds like shade at Paris Hilton, one wouldn’t be surprised… for that feud is, as Katy Perry would say, never really over.

    More snapshots of the hotel’s “poshness” (shown via the low budget’s rather unglamorous people getting out of expensive cars) are meant to give us a glimpse into Sierra’s “good life,” even though it looks like a communistic (exterior-wise) Holiday Inn-styled “summit resort”—not even a Hilton. And maybe the only real reason Lohan agreed to sign on to this script was to recreate the relationship she actually wanted with her own troubled, absentee father. To that point, Sierra exhibits the Electra complex-oriented dynamic that rich girls have with their rich fathers (see also: Donald and Ivanka). Which is why Sierra can’t be candid with him about not wanting to become the “Vice President of Atmosphere” for the hotel, lest she disappoints Daddy.

    What’s more, Sierra complains to Tad, “He flew me all the way up here in his private jet for Christmas. I don’t wanna hurt his feelings.” At the same time, she laments, “When people look at me, all they see is the spoiled daughter of Beauregard Belmont, the hotel magnate. And I’m not spoiled!” This timed so that she can be spoon-fed caviar and given champagne to sip on before being asked, “Dress or slacks?” by her temporary stylist, Bianca (played by Lohan’s sister, Aliana—which proves she’s taken up the mantle for Britney back when she used to try to make Jamie Lynn’s “career” happen).

    All of this is leading up to the most insane moment of the movie, in that it entirely negates the plot even being necessary to continue on past the discovery of Sierra unconscious near a tree. That moment being when the movie’s true romantic leading man, Jake Russell (Chord Overstreet, whose already existing tie to Lohan is that she cameo’d on Glee in 2012), appears at the Belmont Resort. On a side note, if Jake is so beloved and famous in that town, surely Sierra would have encountered him at some point, even despite her sheltered existence. In any case, after presenting Beauregard (Jack Wagner) with a proposal for upgrading his “lesser” a.ka. humbler North Star Lodge and asking if he might consider financing it (“making an investment,” if you will), then being promptly rejected, he runs quite literally into Sierra with a cup of hot chocolate in hand. Regardless of the fact that she’s wearing sunglasses and a big hat, it would be fairly difficult to not make the connection that it’s the same woman he discovers unconscious next to a tree soon after. Especially since he’s supposed to be so attentive and astute.

    To viewers’ dismay, that isn’t really true. For after staring at her for a few minutes with the daub of bird shit-like whipped cream he’s spilled onto her “Valenyagi” suit, he seems to have some amnesia of his own later on. But sure, the audience can buy that he’s so blacked out in general over his North Star Lodge woes that maybe he just wasn’t paying attention to fairly obvious physical details. Plus, as a widower/single dad, his general pain could be fairly all-consuming.

    His daughter, Avy (Olivia Perez), sees that pain, which is why she makes a “Christmas wish” near a holiday market vendor who “just so happens” to look like Santa (and yes, he’ll reappear many times throughout as a “guardian angel,” of sorts). This being only one of the infinite schlocky moments that Lohan chooses to omit in her mainstream promotion of the movie on outlets like Good Morning America and The Tonight Show Starring Jimmy Fallon. Where the interviewers in question mostly preferred to bring up Mean Girls and talk of a Freaky Friday sequel because these are what remain Lohan’s sole claims to cinematic glory apart from The Parent Trap.

    Other bids at promotion laughably centered on Lindsay looking back at some of her most “iconic” movie roles, which, due to scraping the bottom of the barrel, included her parts in ensemble cast movies such as A Prairie Home Companion, Bobby and Chapter 27. And yes, most would be hard-pressed to remember 1) what her character’s name is (the basic mark of a truly iconic movie character) and 2) what actually happens in any of these movies. Unfortunately for Lohan, gone are the days of her being “bankable” enough to star in features with actors like Meryl Streep or even Jared Leto. So here we are at Falling For Christmas.

    A movie that demands of its audience, at every turn, not to stab their eyes and eardrums out, in addition to accepting that Sierra and Jake have fallen in love in four days and the former’s personality has improved just by learning to make a bed, do laundry and cook breakfast. And yet, this is something we can find more believable in Overboard, the film plot Falling For Christmas clearly wants to emulate. At least in that movie, however, screenwriter Leslie Dixon (who, funnily enough, previously worked with Lohan in that she wrote the script for Freaky Friday) had the decency to treat her viewer with some respect by showing the gradual development of the relationship between heiress-turned-amnesiac housewife Joanna Stayton (Goldie Hawn) and Dean Proffitt (Kurt Russell). The carpenter who takes advantage of Joanna’s memory lapse after she treats him like shit and doesn’t pay for the work he did on her closet because she wanted it crafted of cedar, not oak. Thus, when he sees her story on the news, he decides to do something that smacks of what Rand Gauthier might attempt (instead, Rand took revenge on an unpaid carpentry bill by stealing Pam and Tommy’s giant safe, containing their sex tape—proving that you should always pay the help what they’re owed).

    Perhaps in a different genre tone, one not meant to be so Hallmark-y meets a dash of Lifetime, the movie could have actually been comedic, as opposed to desperately playing at being that way. Even so, the fact remains that Lohan’s one-note acting range—not her “legal troubles” related to drinking and drugging—are what have ultimately set her back all these years. Talking of that one-note acting range, let no one forget (including Lohan herself) that she “acted” in one of the worst movies ever made in history, Among the Shadows, which she conveniently does not mention in any of her “flashing back” to film roles past.

    Yet, for whatever reason, Lohan persists in making a “comeback” every few years. One she’s allowed to attempt perhaps because no one can quite remember what the last thing she did was anyway. And to help people forget/excuse how bad Falling For Christmas is, someone clearly must have paid a writer off at Indiewire to create the title, “Lindsay Lohan’s ‘Falling for Christmas’ Is the ‘Citizen Kane’ of Netflix Christmas Movies.” While Lindsay decided to take that at face value and repost it as the only positive review of the movie, anyone who reads further will see that the sole correlation made between these two movies is that both have a snow globe and a sled in them (though it’s really a sleigh, not a sled in Falling For Christmas).

    For those accustomed to the factory conveyor belt style of churned-out Netflix Christmas movies (again, stealing the Hallmark formula), Falling For Christmas is par for the course. But as yet another shitty movie in Lohan’s choppy filmography, it begs the question, why keep trying to return? Perhaps because, as Lindsay once self-referentially asked during the cameo she made in Glee’s third season, “Is there anything better than someone making a comeback?” The answer is yes, and that’s when someone makes a worthwhile comeback.

    Genna Rivieccio

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  • Lindsay Lohan Has 1 Reservation About Doing A ‘Mean Girls’ Reboot

    Lindsay Lohan Has 1 Reservation About Doing A ‘Mean Girls’ Reboot

    Lindsay Lohan weighed in on the possibility of a “Mean Girls” remake, and she’s all for it. But, the actor also has an important reservation about messing with the original.

    “I’ve been saying yes forever, so I feel like a broken record,” the entertainer told Extra! in an article published Tuesday.

    “The thing is, it’s so tough [because] ‘Mean Girls’ is so good the way it is,” Lohan said of her one reservation of revisiting the iconic film. “It’s like, ‘Do you really wanna mess with that?’ But you never know.”

    In addition to the “Freaky Friday” actor wanting a sequel, fellow co-stars Rachel McAdams (Regina George) and Daniel Franzese (Damien) have said that they’re also down to do a sequel, if it’s ever in the works.

    Lindsay Lohan is seen outside “Good Morning America” on Tuesday in New York City.

    Raymond Hall via Getty Images

    “I would love it. I would absolutely love it,” Franzese said on David Yontef’s “Behind the Velvet Rope” podcast in August, adding that he “would do it in any form whatsoever. This movie brings people so much joy, so I lean into it.”

    The final decision ultimately comes down to creator Tina Fey, who has shot down the idea of doing another film.

    “We’re going to see if there’s any way to get everyone together, but not a movie, sadly,” Fey told Extra! back in 2014. “We’re all past high school age.”

    Though people are pining for a sequel, there actually was a “Mean Girls 2” TV movie that came out in 2011 ― but it didn’t star any of the original cast.

    Fans will still get a “Mean Girls” production back to the big screen in the near future though, as Fey promised in January 2020 that the Broadway musical version is being adapted into a movie. So fetch!

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