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‘A Good Girl’s Guide to Murder’ is based on a young adult mystery novel by Holly Jackson of the same name. The new Netflix show captures the intensity and plot of the original novel, adding new layers to the story. The questions that many want to know are: Does the show really do justice to the best-selling novel? Will your detective dreams be fulfilled by this show?
A Good Girl’s Guide to the teen cold case
The series stars Emma Myers and it follows the story of Pippa “Pip” Fitz-Amobi, a 17-year-old quick-witted and dedicated high school student, as she tries to solve a murder case – that has been considered solved by the police – as part of Pip’s EPQ (Extended Project Qualification). Pip has been obsessed over this case since it happened.
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The show is set 5 years after Andie Bell (India Lillie Davies) disappeared and her boyfriend, Sal Singh (Rahul Pattni), killed her and then himself – At least that is what is believed after Sal confessed before taking his own life. Did the boyfriend really have anything to do with it? Pip strongly doesn’t think so. As Pip digs deeper into the case, she uncovers secrets and evidence that prove the real story might be far more complex than anyone could have imagined.
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A Good Girl’s Guide to the performances
The series benefits from good performances from the cast, particularly from Emma Myers, who is the lead actress and portrays Pip. Myers managed to depict Pip’s intelligence and vulnerability in a very compelling and balanced way, which made the urgency of the investigation very real. The supporting cast also delivers great performances that complements and adds to Myers’ portrayal. Zain Iqbal does a great job as Sal’s younger brother, Ravi Singh. His portrayal of grief and clear frustration about what happened to Sal and how that affects his family is very well done and believable. He makes a perfect Watson to Pip’s Sherlock. The Ward sisters were very well casted since they genuinely look like sisters. Asha Banks does a great job with Cara Ward and making her the support Pip needs and the levity the show needs. Yasmin Al-Khudhairi plays Naomi Ward and delivers a very realistic portrayal of a young girl who feels scared and sad, who is dealing with an insurmountable guilt. Casting director Catherine Willis made a very clever choice of casting Mathew Baynton, who looks so much like the good guy, for the role of Elliot Ward. Leanne and Josh Fitz-Amobi (Anna Maxwell Martin and Kamari Loyd) are the perfect ground presence we needed in the show.
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A Good Girl’s Guide to visual storytelling
The production design is very crucial to bringing the story’s small-town setting and dark mystery to life. From its suburban streets to its local high school, the idyllic small town setting and atmosphere feels very authentic and familiar (sometimes claustrophobic), which creates a very believable backdrop for the unfolding mystery. The way technology and some modern elements are added to the vintage looking world is very interesting and effective. It adds a modern twist to the traditional mystery genre. What the production design does best in the show is establishing Pip’s world. From her bedroom and her house to the Ward’s house and the school’s environment, it all reflects Pip’s character. One can tell a lot about someone based on their bedroom. The bedroom is the most sacred place in the world for most people. Pip’s bedroom is filled with personal touches such as photos, books, and a study space that highlights her very methodical nature. It also showcases how personal this case is to Pip and her determination to get the case solved. Beck Rainford does a great job with the production design in the show, which helps enhance the storytelling by using the established world to reflect character development and plot progression.
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The cinematography in the show plays a very significant part in establishing the tone and enhancing the suspenseful, moody atmosphere that defines mysteries like this. Both Directors of Photography (Michael Filocamo and Seppe Van Grieken) make the use of natural lighting in outdoor scenes contrasted with darker, more shadowed interiors, which directly reflects the narrative’s theme of hidden secrets and the overall tone of mystery. The color palette consists of mostly muted colors, even though saturation sometimes makes some scenes look warmer than others. From slow pans to tight framing, the camera work is always building tension. Flashback scenes and memories are often depicted by using softer focus, different color grading, or subtle visual effects to distinguish them from the present-day narrative. This technique is very effective in indicating to the audience where we are in the story and timeline. The way lighting, framing, and movement are so carefully established in each frame and scene makes the series not only compelling to watch but also visually striking. Filocamo and Van Grieken achieved that.
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A Good Girl’s Guide to the flaws
When it comes to the show’s flaws, or rather less agreeable/ weaker elements, not a lot comes to mind. The overall pacing is strong but there are a few moments where the pacing is drawn out. Most circumstances that are introduced felt like very fortunate coincidences. The way some things work out for Pip’s advantage feels too coincidental. There are also moments where the romance between Pip and Ravi feels forced. Lastly on the flaws is audio. There were multiple instances where the music didn’t fit the scene or emotion, or where the mixing was great and the music overpowered the dialogue, which made me have to resort to subtitles. Despite these minor issues, the show does a great job with establishing the story and telling it.
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A Good Girl’s Guide to the closed case
Overall, ‘A Good Girl’s Guide to Murder’ is a well-crafted young adult show. This thought-provoking series will keep you at the edge of your seat, establishing itself as a must-watch for mystery and true-crime enthusiasts. Your detective dreams will be definitely fulfilled by this show.
Cast: Emma Myers, Asha Banks, Yali Topol Margalith, Zain Iqbal, Raiko Gohara, Mathew Baynton, Yasmin Al-Khudhairi
Cinematography: Michael Filocamo, Seppe Van Grieken | Director: Tom Vaughan, Dolly Wells | Writer: Poppy Cogan, Holly Jackson, Zia Ahmed, Ajoke Ibironke, Ruby Thomas | Producers: Helen Bater, Matthew Bouch, Poppy Cogan, Holly Jackson, Matthew Read, Lucy Richer, Danielle Scott-Haughton, Frith Tiplady, Florence Walker, Dolly Wells, Laura Mae Harding, Jonas Melcher
By Julia Maia
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