These moments have their own humor, and the bounty-hunting activities aren’t devoid of gravitas, but Jordan and the writing team understand that for every unrealistic wild goose chase down the Georgia highway, there needs to be a moment grounded in just being a teenager, so the series doesn’t wildly spiral. Jordan offsets the more outlandish aspects of their bounty-hunting life with realistic relationships and teenage problems.įor every moment where they’re chasing a skip through a nursing home, the girls manage complicated romances, explore their sexualities, and deal with judgment from their peers and parents’ friends. But they both essential to the story, given positive and negative traits, and are just hilarious, together or separately. It’d be easy to paint one or the other sister in a more antagonistic role, whether through religious good girl Sterling being too prissy or rebellious Blair being too forceful. The tangents themselves are funny, but everyone’s puzzled reactions to their little bubble seal the deal - anyone with a sister knows that communicating without really saying anything is a hallmark of a close relationship. Phillips and Fellini have a natural chemistry, so when the sisters launch into long tangents, bouncing off each other to ramble about inside jokes and stories only they know, it feels realistic, a sisters-only bubble impenetrable to outsiders. Sterling, meanwhile, tends to be a bit of a pushover, so her story revolves around her getting the courage to go after what she wants. Blair is gung-ho, always ready to jump in without a concrete plan, which doesn’t always play out well in the world of bounty hunting - or when balancing her secret double life with a new boyfriend. Both sisters are fully fleshed-out individuals with specific quirks and drives, and personalities that take an active role in the plot. The series wouldn’t be as strong if Blair and Sterling weren’t so dynamic. The show’s partially a satire of rich Southern religious life, partially a thriller, as the girls discover secrets about their mom’s past, and partially a sweet coming-of-age story, as they navigate the perils of high school. Then it’s a raunchy teen comedy, as Blair tells Sterling in detail how she lost her virginity. Then it’s back to crime procedural, as Bowser and the girls pinpoint the motel where a skip is hiding out. Then it’s a family drama, as Sterling has a heart-to-heart about her mom when a rumor comes to light. One moment it’s a slapstick comedy, as Blair jumps onto a car’s hood, clinging for dear life. The series follows a pair of twins, good Christian girl Sterling (Maddie Phillips) and rebellious individualist Blair (Anjelica Bette Fellini), at their elite private school in Atlanta, as they take up a part-time gig bounty hunting with gruff bail agent Bowser (Kadeem Hardison). Teenage Bounty Hunters, from showrunner Kathleen Jordan and executive produced by Orange is the New Black producer Jenji Kohan, includes 10 genres at once, but the creators manage to pull it all off by rooting the story in likeable, genuine characters. From then on, the series kicks everything off with a frenzied, pixie-stick-fueled energy and never really lets go till the final moment, ricocheting from comedy to drama to coming-of-age story to thriller without any hesitation at all. Within the first 15 minutes, Netflix’s new series Teenage Bounty Hunters delivers on its premise: there are teenagers, and they’re quickly mistaken for bounty hunters.
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