![]() And though it was kind of nice to take a break from writing about rom-coms for most of 2022, I feel like the genre is calling me back again in 2023. ![]() I’m especially proud that my final four WRMC entries ( Roman Holiday, Win A Date with Tad Hamilton!, 2005′s Pride & Prejudice, and How To Be Single) really sum up the scope of what I was trying to do with this four-year project. Club column When Romance Met Comedy, which came to a close after 101 columns totaling 187,227 words. The year wasn’t all easy, of course, especially when it came to the major mental adjustment of switching from a freelance lifestyle to the structure and demands of a full-time job creating a brand new section with a two-person team.Īnd it was incredibly bittersweet to say goodbye to some of the long-time anchors of my career: My episodic recaps of This Is Us(my favorite show I’ve ever gotten to write about in such an in-depth way) and especially my long-time A.V. Louis in August, dashed around like a madwoman covering the Chicago International Film Festival in October, and took a semi-spontaneous trip to New York City in November, where I squeezed in five Broadway shows amongst catching up with friends old and new. The adventures didn’t stop there, as I took a relaxing trip home to St. Then June took me to L.A., where I watched a dear college friend get married and took my first-ever trip to Disneyland! (I also dealt with my first major cancelled flight snafu and managed to have only a minor emotional breakdown in LAX.) May brought my first-ever on camera interview, with Cha Cha Real Smooth writer/director/star Cooper Raiff, who was in town for the Chicago Critics Film Festival. Then in March I hopped on a plane for the first time since 2015 (!!!) to attend SXSW, where I saw a Dolly Parton concert, watched Nic Cage watch Nic Cage play Nic Cage, and just generally had 10 of the most surreal, exhausting, exhilarating days of my life. I started the year covering virtual Sundance, which was my first experience with a major film festival like that. After a challenging 2021 took a fairly drastic toll on my mental health, 2022 was filled with adventures that pushed me out of my comfort zone and reminded me that I’m capable of more than I think I am. Add in the tumult that has taken over Twitter in the last third of the year, and I’m ending this year without any of the pillars of stability that have propped me up for my entire career, not to mention nearly my entire adult life.Īnd, yet, remarkably, I also feel more rejuvenated and excited than I have since the start of the pandemic. After leaving the site in solidarity with my wonderful departing editors, I went all-in on a full-time contract gig with FOX Digitalonly for that to rather unexpectedly end in mid-November. Club - my main freelance home for the past nine years. She’s currently available for freelance work as a writer, critic, copy-editor, script consultant, and more!Ģ022 started with news of some disappointing corporate shake-ups at The A.V. ![]() ![]() You can follow Caroline on Twitter, Instagram, and Letterboxd or reach out via email. In her free time, she also co-hosts the movie podcast Role Callingwith her friend Ned Baker. Club, explaining Star Trekfor Vox, visiting SXSW for FOX Digital, exploring the early history of female directorsfor Bustle, and writing about “kind movies”for Polygon. Highlights from her career include recapping TV shows like This Is Us, The Crown, and Doctor Whofor The A.V. She runs the Substack Girl Culture, a monthly newsletter on pop culture, feminism, and all things girly. Club column When Romance Met Comedy, Caroline is a “top critic” on Rotten Tomatoes and a proud member of the Chicago Film Critics Association. ![]() Interested in reclaiming girl culture, analyzing nerd culture, andīest known for her former A.V. With over a decade of experience in film and TV criticism, Caroline is ![]()
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