Life Style

“Punky Brewster” Review: Foster Kid in the 80’s is now a mom

The mid-1980s “Punky Powered” comedy “Punky Brewster,” starring the hilarious Soleil Moonfly, spent a relatively short life at NBC, and the other was syndicated and inspired Saturday morning cartoons. I did. The phrase “Saturday Morning Cartoons” evokes the burning nostalgia of Peacock’s restarted “Punky Brewster.” It really suggests, not a fragrant recycling effort.

Punky Brewster

Thursday, peacock

This is not the cast’s fault. Moonfly, who was eight years old when he made his debut as a punkie, has maintained a sufficient presence in various TV series, so fans were not so shocked and now he has three divorced mothers in their 40s. I’m playing. In a spacious Chicago apartment left to her by her adoptive father Henry (played in an original show by George Gaynes; a photo of the late actor occupies a place of honor in the new punctured living room). She is a fascinating figure, as is the young actor who plays her child. Teen Hannah (Lauren Lindsey Dongis), young Diego (Noah Cottrell), and even younger and apparently gender-interested Daniel (Oliver de los Santos). Daniel and Diego are employed. Hannah seems to be a biological child of Punky and her ex-Travis (Freddie Prinze Jr.). Travis, like Seinfeld’s neighbor Kramer, is barged without notice and often at the wrong time. Given that Punky’s resuscitated sex life becomes part of the story’s repetition, this open door policy can lead to less comical and wrinkled diversity situations. Similarly, the fact that both Hannah and Punky are dating, and one night they even drive their beauty and encounter each other.

The overall tone of “Punky Brewster” feels like it’s been hidden under someone’s mullet since 1984. What sets the show apart from its competitors is an important recruitment angle. The original “Punky Brewster” was a landmark. Punky was abandoned by her mother in a shopping mall and became the first scheduled golden-time foster parent (Henry adopted her in Season 2). The new show’s precocious puberty wildcard, its confrontational element, the main provider of precocious and wise crackers is Izzy (Quincoland), abandoned by his mother, and therefore in the heart and home of Punky. Worm her way Izzy is Fenster Hall’s largest escape artist, the same facility where Henry had to extract punkies after entering the system in 1984, and social worker Shelly Johnson (of the original series). It was under the jurisdiction of Shelly Johnson. Obviously anoint the bureaucratic wheels so that punkies can quickly grow Izzy.

Unlike older shows, this “Punky Brewster” doesn’t take advantage of the difficult facts of foster care. The fact that Punky’s mother last called her on the phone has nothing to do with it. Episode 1, 36 Silent Years Later. (Mom is rarely mentioned in several subsequent episodes.) Punky told her indignant trio not only to make space for Izzy in the apartment, but also to “in her heart for her.” We need to make space. ” Everyone, including children, moans. However, in both versions of the show, catalysts are a relatively rare occurrence of complete child abandonment that positions their character. The intent is good — mainstream adoption and foster care in pop culture. However, the actual foster care system is of much greater interest to children who have been separated from their parents because of negligence or abuse, which is often attributed to poverty. It would be interesting to see a show working on the foster parent system from that angle. This is not the show.

Instead, it’s a gentle comic program, with morals in every episode and digging into its own past in different ways. For example, Punky’s unlimited sense of color and her mismatched sneakers. But if the viewer is skipping the memory lane and looking for something nimble, the “Punky Brewster” will travel through the unleashed laces of the pink and orange Converse. The track of constant laughter, in part, is a reversion to the general mundane of so many network comedies of the 1960s, 70s, and 80s, and is powerful from the more vulnerable and sentimental viewers. It’s a means of laughter. Determine if the lines of executive producers Steve and Jim Amogida (“School of Rock”, “Grounded for Life”) are as dry as they look, or if the laughing track is out of balance and suppressing the rhythm. It’s hard to do. Many of the “Punky Brewsters” will be more interesting and perhaps adorable if you don’t try too hard to be both.

Copyright © 2020 DowJones & Company, Inc. all rights reserved. 87990cbe856818d5eddac44c7b1cdeb8

On February 24, 2021, the print version appeared as “Punky Brewster is now a mom”.

“Punky Brewster” Review: Foster Kid in the 80’s is now a mom

Source link “Punky Brewster” Review: Foster Kid in the 80’s is now a mom

Back to top button