Entertainment
Sitting in Bars with Cake review: A resonant tale of friendship and loss worth tasting
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A decade ago, Audrey Shulman went ahead with a wacky plan to find a boyfriend. She would bake cakes and bring them to bars in order to meet guys every week for around a year. But it all didn’t go as planned. Midway through this ‘cakebarring’ experiment, her friend Chrissy is diagnosed with cancer. Their real-life friendship becomes the crux of the new Prime Video entry, directed by Trish Sie. It’s the bittersweet tearjerker entry that is headed exactly where it should, but does so with a resonant ode to female friendships and self-discovery that makes you want to sit through and have a slice for yourself. (Also read: Priscilla first reviews: Sofia Coppola’s film gets 7 min standing ovation at Venice Fest, glowing reviews)
The premise
Sitting in Bars with Cake starts with Jane (Yara Shahidi) and Corinne (Odessa A’zion) as best friends who have moved from Arizona to Los Angeles. Corinne works as a junior music agent and Jane is the mail room clerk preparing for law school. But her real passion lies in baking. Yet, Jane is the shy one among the two, and in the early scenes, she declares, “If it works for Mr. Rogers, it works for me.” In another scene, she speaks passively about a cake recipe a second too long for a crowd to pay any heed. Corrine, on the other hand, is sparkly and outgoing, and comes up with the plan of trying out a new bar every week for a year with her homemade cake as a way to meet men. They name this experiment, ‘cakebarring.’
What works
Just as their plan gets rolling and everything seems to go accordingly, Corrine has a seizure. On diagnosis, both of them learn that Corrine has brain cancer. Her parents (played by Ron Livingston and Martha Kelly) arrive shocked and insistent on helping out. But Corrine wants to stay back and be with Jane. From here on, the film takes a restless and frequently predictable turn to manoeuvre the many turns the central friendship endures – shaking and trembling with the energy of its two lead performances.
Final thoughts
Shahidi gives a finely etched performance, yet her Jane largely feels drawn in bold, predictable markers devoid of necessary interiority. In contrast, A’zion manages to do a lot even with so less. She injects Corrine with such spirit, verve, and aching desire that it’s hard to look away when she is on screen. Then there is the underused Bette Midler, who struts and frets on screen and then disappears as Corrine’s boss – forever a scene-stealing delight. In the midst of hospital visits and caregiving, the plot point of the cakebarring project is forgotten somehow.
Still, the latter half of this uncommonly intelligent film stays tightly focused and pragmatic. Even as the moments of devastation appears, Sie covers the predictable ground with understated authenticity. Aided with Lauren Connelly’s sharp editing work and Tracy Dishman’s beautifully succinct production design, Sitting in Bars with Cake offers an acute and sensitive exploration of what it means to care for someone. Perhaps it could have done better with a little formative daring with its ingredients, akin to the clever concoctions of its baked goods. It still deserves a taste.
Sitting in Bars with Cake is streaming on Prime Video.
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Stay tuned as we break down the best deals, insider shopping tips, and must-have products to make the most of Amazon’s Big Spring Sale. Happy shopping!
Entertainment
Ryan Murphy Finds His Carolyn Bessette-Kennedy in Sarah Pidgeon for American Love Story
Ryan Murphy has finally settled on the actress to portray Carolyn Bessette-Kennedy in his highly anticipated anthology series American Love Story for FX. The role, one that demands an actress who can capture Bessette-Kennedy’s legendary poise and ’90s style, has gone to Sarah Pidgeon, known for her breakout role in The Wilds.
The series will explore the iconic romance between John F. Kennedy Jr. and Carolyn Bessette-Kennedy, and the casting of Pidgeon, as reported by Deadline, is sure to spark even more interest in this much-anticipated project. The choice of Pidgeon, celebrated for her nuanced performances, comes after much speculation about who could possibly embody the ethereal grace and mystery that made Bessette-Kennedy a style icon of the ’90s.
This marks a major milestone for Pidgeon, who will now take on what is likely the role of a lifetime, portraying one of the most talked-about figures of modern American history. As Murphy continues to craft his unique vision for this story, fans and critics alike are eager to see how Pidgeon brings Bessette-Kennedy to life on screen.
The third day of Paris Fashion Week saw designers exploring the intricate relationship between gestures and clothing, emphasizing how fashion is not just about what we wear but also how we wear it. Collections from Tom Ford, Dries Van Noten, and Courrèges examined the power of poise, movement, and expression in shaping the narrative of style.
Tom Ford: Seductive Refinement
At Tom Ford, the runway exuded understated sensuality with structured silhouettes, slinky fabrics, and sharp tailoring. The collection celebrated the way garments move with the body, emphasizing controlled elegance and effortless allure. The balance between precision and fluidity played a key role in defining the brand’s signature poise.
Dries Van Noten: The Art of Subtle Motion
Dries Van Noten explored grace in everyday movements, showcasing fluid draping, asymmetry, and layered textures that interacted beautifully with body language. Models glided down the runway in sheer overlays, deconstructed tailoring, and muted tones, creating an atmosphere of quiet sophistication.
Courrèges: A Futuristic Take on Gesture
At Courrèges, the focus was on modern minimalism and futuristic silhouettes that adapted to movement. With high collars, sculptural cuts, and sleek monochromes, the collection emphasized how posture and poise can transform a garment. The interplay between rigid and flowing elements created a striking contrast, reinforcing the theme of fashion as an extension of personal expression.
Final Thoughts: Fashion as a Language of Movement
Day three of Paris Fashion Week proved that style is more than aesthetics—it’s about the way clothing interacts with the body and the world around it. From structured confidence at Tom Ford to fluid elegance at Dries Van Noten and futuristic sophistication at Courrèges, each collection redefined the poise and manners of fashion in its own unique way.
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