Why You Should Watch The Summer I Turned Pretty
People, quickly take a subscription to Amazon Prime if you haven't already. I did that a year and a half ago because I wanted to see the series The Man In The High Castle. Now, that series isn't necessarily a recommendation (unless you like very freaky, weird, and somewhat thrilling series), but that streaming service definitely is. And it's quite affordable too: I now pay €2.99 per month.
But the reason I'm suddenly all #teamamazon is because of the series The Summer I Turned Pretty. I binge-watched it in one day this week and then I went to a corner and cried because it was over. Honestly: I don't think I'm really the target audience (I'm 32, and that series is about fifteen and sixteen-year-olds), but I became so invested in all these people. And in their love lives. Especially their love lives.
The series revolves around Belly, who every summer visits the Fisher family in Cousins with her mother and brother (her parents are divorced). There, mother Susannah lives with her sons Conrad and Jeremiah. Belly has been in love with Conrad since she was ten, and we as viewers completely understand that. But this summer everything is different: Belly is no longer a little girl; she is really becoming a woman. Or well, mainly a real teenager. And Conrad sees that too. We viewers immediately see that the love is mutual, but Belly does not.
And that goes on for about seven episodes. HAHA. Yes, the plot may not be incredibly exciting, but I really couldn't turn off this series. It is from the same creators as To All The Boys I’ve Loved Before and based on a book, of which three parts have been published. So there is good news: that second season is coming. And if you haven't seen this series yet: get on it. It's such a joy.
The only downside is that I'm really bummed that I didn't have such an immersive summer love when I was sixteen and that I'm now more invested in the love life of two fictional teenagers than in my own. If love isn't like Belly's for Conrad, then I don't want it.
Credits: Dana Hawley and Peter Tayler
