Day 1 - 13 Going On 30 (First Blood)
<** Spoiler Alert **> There's probably going to be spoilers. </**Spoiler Alert **>
Personal Reflection:
"You don't always get the dream house, but you get awfully close."
In a literal sense: at 13, Jenna didn't understand the dream house and threw it in Matty's face. At 30, she understands the importance of the dream house but doesn't get Matty (initially).
I think what separates 13 from 30 is the belief that you can have your dream house. Jenna essentially settles for a strip-teasing New York Ranger who, "has moves on the ice and off the ice, ice baby". However, as 13-year-old-Jenna, this isn't good enough. At 13, you need goosebumps on your arms that won't fade away. You need to host a sleepover party to talk about how crazy you are about this guy.
The idea of compromise runs throughout the movie, starting at 13, when Jenna mimics Lucy, telling Matty she "doesn't need the play-by-play". Going on 30, the compromises compound until she no longer recognises herself. It's a Christmas Carol awakening, seeing a future spectre distorted by a series of disingenuous choices her former self finds shocking: She doesn't talk to her parents?!?! She vacations at St. Barts instead of spending Christmas with her family?!?!
Being thirty, flirty and thriving is not as good as having integrity. So, "heartache to heartache, we stand together, love is a battlefield". Battles are bloody and painful and make us into stronger, better people.
Poor Chris Grandy.
First Impressions:
First of all, Jennifer Garner's skin is fucking flawless. The expletive being necessary after over one hour of immersion in PG-13 Fantasy Rom-Com land; Fantasy Rom-Com being a recognised sub-genre that includes movies with an element of magic, like, say Wishing Dust that knows what's in your heart of hearts ;-)
On the topic of Jennifer Garner's face, her lips call to mind Molly Ringwald, in particular Andi from "Pretty in Pink". I feel like "13 Going On 30" is an alternate universe imagining where Andi and Ducky end up together, a topic to be visited in greater depth on August 27th.
Personal Reflection:
"You don't always get the dream house, but you get awfully close."
In a literal sense: at 13, Jenna didn't understand the dream house and threw it in Matty's face. At 30, she understands the importance of the dream house but doesn't get Matty (initially).
I think what separates 13 from 30 is the belief that you can have your dream house. Jenna essentially settles for a strip-teasing New York Ranger who, "has moves on the ice and off the ice, ice baby". However, as 13-year-old-Jenna, this isn't good enough. At 13, you need goosebumps on your arms that won't fade away. You need to host a sleepover party to talk about how crazy you are about this guy.
The idea of compromise runs throughout the movie, starting at 13, when Jenna mimics Lucy, telling Matty she "doesn't need the play-by-play". Going on 30, the compromises compound until she no longer recognises herself. It's a Christmas Carol awakening, seeing a future spectre distorted by a series of disingenuous choices her former self finds shocking: She doesn't talk to her parents?!?! She vacations at St. Barts instead of spending Christmas with her family?!?!
Being thirty, flirty and thriving is not as good as having integrity. So, "heartache to heartache, we stand together, love is a battlefield". Battles are bloody and painful and make us into stronger, better people.
Poor Chris Grandy.
Rom-Com Tropes:
Please feel free to add more. In my limited experience I will not recognise as many until my repertoire expands.
1. A happy ending is defined by the couple happily married.
2. It's okay to cheat on your partner if they aren't the one you are supposed to be with.
3. Follow your heart.
4. Song and dance numbers.
5. The friend-zoned bff who is actually your soul mate.
5. The friend-zoned bff who is actually your soul mate.
Soundtrack:
1. Comprehensive mix of 80s pop favourites from The Talking Heads, Rick Springfield, Pat Benatar, Michael Jackson, Vanilla Ice, and Madonna.
2. BONUS POINTS: Liz Phair's Why Can't I
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