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The Tufts Daily
Where you read it first | Thursday, March 28, 2024

'Life Sentence' proves disease does not entail a love story

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A promotional poster for the CW series Life Sentence (2018–) is pictured.

Since the publication of John Green’s “The Fault in Our Stars” (2012) and its 2014 film adaptation, the romanticism of cancer seems to have become a staple of American popular culture. Last month, Netflix released an original film entitled“Irreplaceable You” (2018)about a woman who, after she is given a terminal cancer diagnosis, determines to live the remainder of her life to the fullest. In the wake of these successes, it is no surprise that The CW would attempt its own tumorous love story. Unfortunately, “Life Sentence” (2018–) proves to be a disease for which there is no cure.

The promising premise of the show makes its inferiority even more regrettable. While many of the protagonists in related works eventually succumb to their illnesses, “Life Sentence” opens with Stella (Lucy Hale) receiving the news that she is cured. No longer ensnared in death’s embrace, Stella must now face her new life sentence: She has been sentenced to life, and all the pleasures and pains that come with it. As Stella adjusts to her new reality, she is shocked to discover the secrets her loved ones have kept from her, ranging from the asinine (her husband Wes, played by Elliot Knight, only farts outdoors to please her) to the jaw-dropping (her mother, portrayed by Gillian Vigman, has left her father and begun a relationship with a female family friend.) Despite its best intentions, however, Stella’s startling and inspiring adventure is not enough to keep the audience’s interest alive.

The show’s tediousness is most apparent in its incessant and contrived use of voiceover. Another Netflix release from earlier this year, “The End of the F***ing World” (2017–), powerfully manipulated narration to add another dimension to its already larger-than-life characters and draw viewers further into the story. In “Life Sentence,” however, the voiceover can only be described as unnecessary. For example, we hear Stella announce her plan to join the work force as a barista — while we see her standing behind the register of a coffee shop. Although there are certainly more provocative moments, such as when Stella learns that her sister gave up a scholarship at Columbia to take care of her, the continuous narrative mainly serves to fill air time and demonstrates that showing should always be prioritized over telling.

Moreover, Hale’s performance seems incongruous with the comedic aspect of “Life Sentence.” As the star of the drama series “Pretty Little Liars” (2010–2017) and the upcoming horror movie “Truth or Dare” (2018), Hale is undoubtedly accustomed to delivering theatrical and emotional performances and has yet to become familiar with the more lighthearted acting style that loyal CW viewers expect. Her overacting frequently hinders enjoyment of the show, most drastically for otherwise commonplace scenes. One character will make a casual remark, and Stella responds with a doe-eyed stare, unsure whether to laugh or cry, blissfully unaware that neither reaction is sensible, much less required. For many, television is a way to escape and block out the surrounding world, and doing so is impossible if we are constantly reminded that what we are watching is not real.

Luckily for Hale, the crew of “Life Sentence” covers up flawed performances like concealer disguises pimples. When Stella leaves the hospital, the gloominess instantly gives way to the dazzling brightness of the daytime sky, as though the audience, too, has been granted a second chance at life. To add to this effect, many of the songs played throughout are effervescent and defiant, suggesting that viewers, like Stella, must fight for their desires. One often forgets that there are countless people involved in a production besides the star actors, but they deserve just as much of our attention and respect, especially when they are wholly responsible for salvaging an utterly lifeless show.

Essentially, “Life Sentence” is merely another story about the difficulty of young adulthood, lacking the rich spirituality of “The Fault in Our Stars” and the passionate agony of “The End of the F***ing World.” Thus, the show is little more than a backbone, offering viewers nothing to remember once the episode ends. If the writers had fleshed it out just a bit more, if they had allowed it to breathe, then perhaps it could have had a fighting chance, but as it stands, “Life Sentence” would be better off laid to rest in a heap on The CW’s cutting room floor.

Summary Despite its best efforts, "Life Sentence" is completely devoid of vitality and promise.
1.5 Stars