You Are So Pretty - Netflix
A single mom overcomes a broken heart and betrayal to succeed in life.
Runtime: 35 minutes
You Are So Pretty - Pretty. Odd. - Netflix
Pretty. Odd. (stylized as Pretty Odd) is the second studio album by American rock band Panic at the Disco. Recorded at the Studio at the Palms in Paradise, Nevada with additional production at Abbey Road Studios in London with producer Rob Mathes, the album was released March 25, 2008 on Decaydance and Fueled by Ramen. Inspired by baroque pop and the works of The Beatles and The Beach Boys, the psychedelic-styled rock album differs greatly from the techno-influenced pop punk of A Fever You Can't Sweat Out (2005). To begin work on the record, Panic at the Disco retreated to a cabin in the rural mountains of Mount Charleston, in the group's native state of Nevada. Upon growing dissatisfied with their final product, the band scrapped the entire album and spent time writing and recording Pretty. Odd. throughout the following winter. Production came together quickly and each song made the cut. Additional recording, such as strings and horns were produced at Abbey Road Studios. It is the first album to feature bassist Jon Walker, and last to feature vocalist and lead guitarist Ryan Ross; both left the band in 2009, a year later after the album's release. The record received a mixed critical response and under-performed commercially in the aftermath of its double-platinum-selling predecessor. The album spent 18 weeks on the Billboard 200 and the album's lead single “Nine in the Afternoon” was certified platinum by the RIAA. The album has since gathered a small cult following and has sold 422,000 copies by 2011. In 2016, the album was certified gold by the RIAA.
You Are So Pretty - Reception - Netflix
Pretty. Odd. created fan confusion and received a mostly mixed critical response, so much so that in 2011 Rolling Stone called the record one of the boldest moves in rock history. At Metacritic, it currently holds a score of 70 out of 100 based on 22 reviews from mainstream critics, indicating “generally favourable reviews”. Of the original reviews, Spin generally was the most enthusiastic: “Pretty. Odd. lives up to its title because it dares to be optimistically beautiful at a time when sadness and ugliness might have won them easier credibility.” Billboard also was generally positive, calling the record “15 tracks of welcomed live drum sounds, symphonies and stacked harmonies.” Time called the record's songs smarter and said it provided a more exciting outcome for the band's future: “Where this band goes now is unclear, but the journey is a lot more interesting.” British publication NME viewed the album in a positive light, calling it a “victory for artistic ambition over cynical careerism” and “one of the feel-good psych-pop albums of the year.” Alternative Press called Pretty. Odd. ambitious, while Blender called several songs on the record a “brush with greatness.” Rob Sheffield of Rolling Stone agreed with the latter statement, calling the songs “often beautiful,” rounding out a less-than-impressed review with “Even when it's over the top, which is basically always, Pretty. Odd. sounds cheerful.” Entertainment Weekly's Leah Greenblatt called it “more pretty than odd,” calling it a “headphones album, a dense, largely enjoyable layer cake of ideas and instrumentation that might actually alienate its teenage fans.” The A.V. Club's Aaron Burgess stated that Pretty. Odd. deserves “far more than a casual listen,” praising the baroque orchestration and multilayered harmonies. Stephen Thomas Erlewine of AllMusic called the album “a deliriously jumbled, left field delight.” Paul Schrodt of the online Slant Magazine dismissed the record as generic, but commended the “exuberant delivery” of the pop hooks. Mojo called the LP “too clinical and calculated” considering the young age of band members. Fellow British music magazine Q expressed similar sentiments: “Ultimately, you're left wishing that Panic at the Disco had more to say about their own generation, instead of mimicking that of their parents'.” The Boston Globe reviewer Matthew Shaer agreed: “Pretty borrows liberally from the things that made those bands superficially interesting - the practiced eccentricity, the constant innovation - without paying tribute to the cultural and political sensibilities that made them great.” The New York Times called the record “wildly elaborate” and a “brave change,” but offered less kind words to summarize: “For all its craftsmanship, Pretty. Odd. comes across as mannered and overbearing, more studied than exuberant.” The Village Voice called the record earnest and triumphant, but criticized the “hard to grasp” overarching narrative strand. Uncut held that the album “tried too hard to be obtuse,” but praised the band's artistic evolution. James Montgomery of MTV News has described Pretty. Odd. in retrospect as overlooked, writing that, “Give this one a decade ... we could have another Pinkerton on our hands,” referencing the Weezer album that received a mixed response upon release but was heralded as a classic in later years.
You Are So Pretty - References - Netflix