Inside Out (2015) Review

"Congratulations San Francisco, you've ruined pizza! First the Hawaiians, and now YOU!"

Emotions are at the core of us as human beings, so it comes no surprise that eventually they would become the topic of cinema, featuring prominently in Peter Docter’s (Monsters Inc., Up) latest directorial effort, Inside Out. But no one could have predicted that such an unusual concept could ever make such a thought-provoking film, especially when you consider that this is an animation, where literal emotive creatures control our actions. Yes, Anger, Disgust, Fear, Sadness and Joy, man a control panel where a few clicks or lever-pulling can result in us throwing vegetables at our parents or managing to pull off a perfect skating move on the ice.

Set in San Francisco, Inside Out documents the move of the Andersen family from their home-town, icy Minnesota, prompting Riley (Kaitlyn Dias) to be uprooted from her ice-hockey loving life and placed in a place where she has no friends, no hobbies and an unsuitably shabby home. This would be enough to annoy anyone, but Riley is determined to stay strong and joyful for her mother (Diane Lane), whilst her father (Kyle MacLachlan) struggles to spend time with her due to work commitments. The emotional strain on Riley’s joy causes her emotions to go into haywire, and when Sadness (Phyllis Smith) inadvertently causes the ejection of Joy (Amy Poehler) and herself from ‘headquarters’, the two find themselves trapped and needing to find a way back home, quick. Left to rule the control panel, Disgust (Mindy Kaling), Anger (Lewis Black) and Fear (Bill Hader) can’t cope, and ultimately cause unimaginable chaos.

It should be noted that the psychological complexity of Inside Out is a particular marvel; never before has a film marketed as a children’s feature been so thoroughly insightful and provocative. The portrayal of what is more commonly known as mixed emotions as normal is reassuring for those who often don’t feel one particular feeling at any given time. The presentation of these compounded emotions is highly significant in the place of Riley’s mind, as while the little people inside her mind struggle, so does she, mimicking the ways in which the brain affect our own actions.

The ways in which the film can be seen in relation to mental health is extremely interesting as ultimately, although Riley has no physical injuries, her mind affects her in such a state that she is willing to run away from home, risking her ‘Islands of Personality’ (family, hockey, goof-ball, honesty and friendship), and not to mention her very sense of being. This draws a strong parallel to several mental disorders such as depression, with Sadness (Phyllis Smith) seeming almost unable to stop herself from turning everything into a state of sadness, with Joy left fumbling in the background.

Ultimately however, the main point of the film is not that we need to eradicate sadness and block it out, but to accept it and the role it plays in our lives. The relationship between Joy and Sadness is one of the most touching ever between two animated characters, with poignant scenes between the two, propelled by the compelling performances of Poehler and Smith. Joy and Sadness finally realise that they can work together to help Riley, as opposed to being polar opposites, and the two emotions bond together to create something that is exceptionally profound for an animated movie. In this case, it seems that animation is doing a better job at succeeding in expressing severe and bitter-sweet emotions than some live-action features, and Docter is able to convey this beautifully on-screen.

The contrast between the bright and magical colours and the decidedly darker nature of the film is particularly intriguing, providing a notable parallel between what we see and what lies under the surface, echoing the films overall concept. Everything from joy’s hazy complexion to the impressive long-term memory structure has been carefully planned and designed, ensuring that the film’s aesthetic is sure to dazzle any audience.

Whilst Disney Pixar’s has had some success with former addition Up, it felt too overdrawn and bizarre in places, whereas Inside Out is a far more inclusive feature, touching on subjects that are relatable to all ages; truly understanding the concept of a ‘family’ movie. The film seems to have marked the return of Pixar to its former glory, green-lighting the possibility for more experimental, concept-pieces in the future.

A truly emotional ride (on the ‘train of thought’), Inside Out is unique in its concept, wonderfully envisioned and bursting with imagination and, yes, joy. 

Life Is Strange - Episode 4, 'Dark Room' [Review - SPOILERS]

As Life Is Strange slowly built up to its finale, it was anyone's guess as to what episode 4, entitled 'Dark Room' (how ominous), had to offer. And if you thought episode 2 with Kate was bad, then let's just say to keep your wits about you as it's anyone's game in this latest thrilling addition. With so many potential deaths to deal with, it almost seems as if it's likely anyone...and everyone will die at the end of this series. 

As always, if you want to hear our review at the end then feel free to skip on over to that (best to keep your eyes shut until then as they'll be spoiler-filled pictures). But first we shall start by discussing the events of the fourth episode as they unfolded. 

Recap:

After having the shocking twist at the end of episode 3 with Chloe Price in fact having been involved in her own car accident (and now needed a wheelchair and several other pieces of equipment to move, breathe, and basically function), everything from the previous 2 episodes were uncertain. After spending the day with Chloe (with the option of choosing extremely guilt-ridden dialogue) and William, it was left to Max to decide what to do. Chloe, knowing of her worsening condition and her parents agony, asks Max to do the unthinkable...to kill her. 

At this point, you have the option to accept or reject Chloe's offer. Ultimately though, it means nothing as Max decides she must say goodbye to William (essentially re-killing him) and restore the old, not-disabled, Chloe. So back comes the blue hair and feisty attitude. Phew, we were getting worried there. Over the course of the episode, Max and Chloe gather clues (get ready for some searching and puzzle-based games, people) as to what could possibly be going on with Nathan, the disappearance of Rachel and Kate's ordeal. 

You spend a bit of time rummaging through David's garage to find some of evidence. Second stop though, Max goes to visit Kate. This is suitably awkward, as if you saved Kate you will get to see her alive and well in the hospital (and we're guessing if you didn't it's most likely going to be her funeral). Dodgy dialogue aside, Kate volunteers (or doesn't) to help you find Nathan's dorm number so you can break in. 

On the way to Nathan's dorm you get the opportunity to talk to a load of familiar faces including the incredibly wise janitor who may as well be some sort of hidden deity given his cryptic but enlightening dialogue. After finding a whole load of torture porn in Nathan's room along with some other creepy thoughts of the mini serial-killer, you eventually discover Nathan's phone (another one of the clues). Just as you think everything is fine and we have escaped without harm, Nathan shows up and starts getting aggressive. Cue Warren to the rescue. Quick as a flash, superman jumps in and beats the shit out of Nathan. No, really. He's practically blubbering on the floor. 

Next stop is Frank's trailer, where the real stuff goes down. Now you have multiple options to coax Frank's client list out of him nicely (easier said than done) or get almost mauled by his dog, thus causing Chloe to shoot the dog and then subsequently Frank. 

You can just leave Frank and his dog lying dead and steal the list, or you can rewind time and just shoot Frank in the leg, or successfully get him to give up the list. Got, that? Be nice to Frank = scores you the list without any canine death...or actual human death. Now that we have all the pieces of info it is up to Chloe and Max (mainly Max) to put together all the information and come up with the location of a mysterious haunted barn, naturally owned by the Prescott family. After finding a locked trap-door in the barn, Max and Chloe descend into what is known as the 'dark room', a disturbing one-stop-shop for creeps and kidnappers. 

Duct tape, video cameras, needles and secret files litter the room and in the notable red box files are pictures of Kate Marsh...and Rachel Amber (oh, and also there's an empty file for Victoria). Some incredibly disturbing photos of Kate are shown, along with ones of Rachel which appear to show her being buried in the junk-yard. Nathan's jacket is also present, along with other evidence that indicates he and his father are involved. Naturally, Chloe freaks out and the two of them high-tail it over to the junk-yard. 

At the junk-yard, Chloe frantically digs up and finds (presumably) Rachel's body, although this is not 100% confirmed. Now Chloe and Max have one joint goal: find Nathan at the Vortex Party and presumably make him pay (we're taking this as code for killing him, at least in Chloe's mind). On their way inside, the two briefly run into Warren, who wants to take a selfie with Max to commemorate the moment. Needless to say, Warren is totally trying to make the moves on Max. 

But, unfortunately the party is pretty much a dud, thought you do have the option of warning Victoria about Nathan and your previous actions towards her mean that she will either believe you or not. Mr. Jefferson is also present, and hands Victoria the award for the elusive 'Everyday heroes' contest. 

He also randomly stops Max and Chloe on their way out, but returns to the party. Chloe abruptly receives a text from Nathan who says there won't be any evidence left to find and Max and Chloe return frantically to the junk-yard. Whilst Chloe digs up Rachel, Max is injected from behind with drugs from a shadowy figure, who then proceeds to shoot Chloe straight in the head. 

Chloe falls down, covering the ground in blood and Max can't stop or rewind the situation due to her drugged state. And as a final twist, who should the shadowy figure be, other than... Mr. Jefferson! 

Yes, the over-enthusiastic photography teacher is somehow involved and just killed Chloe. Surprise! Although, if it's anything to go by, Chloe has proven to be as resilient as fuck, so we're pretty sure her death isn't going to be permanent (perhaps some photo-ception with a photo Warren coaxed Max into taking before the duo entered the party?). After all, she has been shot by Nathan, hit by a train, paralysed by a car 'accident', almost killed by a dog and so much more. This girl's a survivor (thanks predominantly to Max). 

Of course, now Max is left to wiggle her way out of this deadly situation with a disturbed Mr. Jefferson and the 'dark room', save Chloe (somehow) and figure out the mystery behind the weather. And who knows, maybe even save Rachel somehow too. Sufficed to say, the last episode is going to be a real epic adventure. Once again, it would seems as pretty much everyone's fate really does rest on Max's (and your) shoulders. 

Review: 

It's fair to say this episode was all over the place in terms of actual action, although it did move at a fairly glacial pace to start off with. Fortunately though, by the time the Vortex party approaches, events have kicked up a gear and now the episode is moving far more quickly. The lip-synching is still completely awful (but we're thinking they were going for more of a certain aesthetic with the beautiful imagery, exciting game-play and atmospheric music) and off-putting, but is fine if you don't actually look at their mouths. The narrative was decidedly more action-packed and lengthy than previous episodes, with a minimum total of 4 hours of game-play (longer depending on how you like to play), which certainly gave you plenty of scenarios to encounter, rightfully so, considering it has been over 2 months since the last instalment. It's fair to say if the game had ended upon the discovery of the 'item' in the junk-yard, it would have felt incredibly anticlimactic and lacklustre, but with the add-on of the Vortex party and the shocking thriller (and set-up) at the end, it propelled the episode to far more riveting heights. After the shock ending last episode, all eyes were on the game-makers, who were certainly under a lot of pressure to produce an equally climactic and shocking cliff-hanger for this addition, and thankfully, they didn't disappoint. 

The puzzle sequences and evidence gathering also showed great improvement from previous episode, with gathering David's, Nathan's and Frank's evidence being one of the most strategic and enjoyable experiences. Of course, performances from the main cast are all captivating to watch, and Chloe and Max really function well as two 'sister' type characters. It now remains to be seen whether the finale will see the series end on a high note or ultimately fail the promising scenario all 4 episodes have built up to. With so many questions left unanswered, Life Is Strange episode 5 has a monumental job tying off loose ends and drawing everything to a satisfactory conclusion. 

Marina and The Diamonds - Blue (Official Video) [+ Review]

Sass game: strong

Gimme love. Gimme dreams. Gimme a good self-esteem. No, this isn't our new mantra for the blog, these are some of the lyrics from Marina and the Diamonds' new song 'Blue'. The track, taken from her FROOT album, has just received a candy-coated new video, which sees the singer enjoying her time at 'Dreamland' amusement park in the UK. The video, directed by Charlotte Rutherford (who coincidentally shot all of the photography from FROOT), is bright, colourful, and energetic, providing the perfect contrast for the actual lyrical content of the song. 

"No, I don't love you/ No, I don't care"

'Blue' is essentially about the singer wanting 'one more night' and 'one last goodbye' with a past lover, despite the fact that she is sick of them and doesn't love them. It's certainly a sassy edition, with the singer showing her forte is definitely unconventional relationship songs with a certain lyrical twist. 

I hate balloons...and fruit!

Stylistically, the video is radiant; pastel hues and bubbles of sweetness fill the air in typical Marina fashion. But underneath the surface there is always something else going on that's a little more sinister than first anticipated. Glitter tears, FROOT bubbles (and plenty of actual fruit-based items) and candy floss are just a few of the latest must-have Marina items and all tie in nicely with the theme of joy and sadness. 

Marina lollin' it up on the hood of a car

The video is a little bit like what we'd imagine 'Bubblegum Bitch' would look like, with the overall sugary sweet nature that is a little false and overwhelming, but at the same time, quite brilliant. Sometimes the singer's videos have a tendency to be simplistic and lacklustre, but 'Blue' proves that Marina Diamandis is on top form with Rutherford manning the helm.

But wait just one minute there!

You can also check out some of our other favourite Marina and the Diamonds articles below!:
Marina and the Diamonds - FROOT [Album Review] 
Marina and the Diamonds - The Top 10 Unreleased tracks
Marina and the Diamonds - The Top 10 songs 

You can watch the music video for 'Blue' here:

OOTD #4 Petite Maxi Dresses

At the beginning of this month I had the great fortune of going on holiday to Western America, where I had the pleasure of visiting places like Los Angeles, Las Vegas, San Francisco, Yosemite and Mammoth Lakes. Of course, I had to pack several different outfits for the weather changes (seriously, it was snowing one day and extremely hot the next) so it seems only fitting that I share with you some of the photos from a particularly favourite outfit day. This was actually on the last day of my holiday in San Francisco, where we visited Lombard Street (famous for its eight hairpin turns). The street was incredibly beautiful with lots of houses painted different colours and some beautiful flowers. Plus there was a great view down the entire street. 

So beautiful!

Seriously, a great view!

We took a cable car up to the street (because, why not?) and it was a great time and I chose to wear my favourite black maxi dress from Boohoo. Now, for a long time, I was very much under the impression that Maxi dresses somehow 'weren't for me' as I wasn't nearly tall enough and they would ridiculous on me. But just recently I have decided to pretty much say fuck it, and I'll wear whatever I like. So this was a big deal for me and I think the whole outfit looked great. I love this dress, it's soft, comfortable and flows beautifully. It has a side slit that comes up just above the knee (would be higher on a taller person) and I got it from the boohoo petite range. I am incredibly short (just reaching 5ft) so when I got the dress it was a little long, despite being from the petite range, so I cut off about an inch and a half to make it fit for me. The dress would probably be fine for anyone around 5ft 2 or taller. The bottom is folded over and sewn together (all you really need is some black thread and a needle). I teamed my maxi dress with a blue denim jacket with grey sleeves that I got from Primark (can't remember the exact price, but it was so cheap and looks great!) and my favourite white plimsolls and purple rope necklace (both from New Look). 

Me and Yaz #teamtwin

If you have been dying to wear a maxi dress and you're short like me, but you haven't had the confidence to, then I highly recommend going out and getting yourself one. This one was only £12 and has become a staple piece in my wardrobe, and there are so many designs out there that are now becoming available in a shorter length. Let me know where you've found your favourite maxi dresses from, and especially if you are of a similar height, I'm always on the look out for great suggestions! 

Years & Years - Communion [Album Review]

It has very much been the 'year' of Years & Years, with the trio making waves in the British music scene since summer last year. A number 1 UK single with 'King' marked them as serious musical contenders and later track 'Shine' managed to secure them a number 2 spot on the chart. Communion was hotly anticipated, but ultimately does it deliver and follow the suit of the seemingly pristine singles that the group have generated so far? As always, for a track-by-track review, keep reading below, and if you want to skip to the final verdict, scroll down for that. 

Track-by-track: 

‘Foundation’ is a suitable start to the beginning of the album, which has a seemingly never-ending beat that is particularly haunting and creates the sense as if it is building (a foundation) to something bigger. The song has a distinctly ominous nature which is heightened by the mysterious echoes in Olly’s voice and the dark instrumental sounds. If you want to read our full review of this track in another post, click here. ‘Real’ is up next and we’re calling this one as the Marmite track of the album. It’s an odd mix of eccentric beats and breaks in tempo, which doesn't seem to ever really go anywhere or make any significant memorable impact, but it might appeal to some. This one’s going to divide a few people.

From the glittering electronic beats to Alexander’s smooth vocal delivery, track #3's ‘Shine’ is a real gem. Undeniably suitable for summer, it’s not hard to imagine the connection to summertime sunshine that will be made considering the lyrical content, but it is much more than just an easy-to-listen-to track, with notable lyrics that have multiple meanings: “It’s shaking the sky/ and I’m following the lightning/ I’ll recover if you keep me alive/ don’t leave me behind”. If you want to read our full review of this track in another post, click here. ‘Take Shelter’ was the big smash hit of last year which definitely put Years & Years on the map. The track itself focuses on the notion of a relationship which seems to be a little overwhelming and careless, but intriguing; “We’re running around like we don’t care/ It’s gonna leave its marks somewhere/ Do you want to show me something new?” The overall vibe of the song is electro-pop with synth-pop elements incorporated with dance beats, which makes for an overall addictive and catchy sound. The musical composition of the track is quite clever, and particularly radio-friendly, without being dull and too repetitive. If you want to read our full review of this track in another post, click here.

#5's ‘Worship’ is an easy, breezy addition to the Years & Years discography, this one has the usual highs and lows that are becoming a signature of the band, performed at their best. Sounds a little similar to ‘King’. ‘Eyes Shut’ features an interesting piano chord opening, and this one’s more of a ballad, showcasing a distinctive change in pace from the previous tracks. It’s perfectly pleasant, with a mix of bass beats than come in 30 seconds into the track, but it’s relatively average. Offering an intriguing break with a middling tempo, 'Ties' is next, and soars with the help of Alexander. “Just another bite that takes it higher than before” is a favourite lyric. ‘King’ was one of the best feel-good tracks of the year, which was recently used as the headline track for Radio 1’s Big Weekend. This one's a triumphant mix of electro beats and vocal echoes which will bewitch any listener.

#9 is ‘Desire’ and admittedly, it isn't as catchy as ‘Take Shelter’, but showcases Alexander’s smooth vocals rather well, and of course, the beat is incredibly groovy, suiting the band well. It is a capable creation that any dance fan will no doubt love. If you want to read our full review of this track in another post, click here. ‘Gold’ follows, and is a bubbly, radio-friendly addition that provides a suitable anthem for anyone wanting to ‘let go’. ‘Without’ sees the album through track number 11. A triumphant electro ballad that unifies with Alexander’s varying vocals to make a real ‘communion’. At #12 is ‘Border’ and whilst there is nothing particularly grabbing about this track, it benefits from a slick production and the feel-good vibe that seems to encompass the band at their very core. ‘Memo’ is offered up as the closing track, as a slow-paced rhythmic piano mix that makes use of the best qualities of Years & Years: their vocal delivery, musical prowess and haunting sounds.

Overall verdict:

Let’s get one thing straight: a timeless classic, this is not. But who says anything has to be timeless to be significant? It’s been noted by some that Communion changes nothing in the music scene, that it is merely music ‘of the now’ and to an extent that’s true. But why must it be sad is such a negative manner? Why can’t something in the now be just as good as something that allegedly lasts forever? Communion’s appeal comes in the form of its blissful beams of electro-pop sunshine, which offers up moments of true enjoyment for listeners. Whilst none of this is ground-breaking, it doesn't have to be, to be enjoyed. Whilst Communion relies on its simplistic nature and Alexander’s vocal delivery to sail it through to brighter shores, there are times when it loses its way and ends up sounding a bit too similar for its own good. Nevertheless, Years & Years have carved their own square in the sand where those who want to can come and listen to it and revel in its warmth – if only for a short while.

Pretty Little Liars - Season 6, Episode 6 'No Stone Unturned' [Recap + Review]

Aria cuddles up to a new rat friend

 With each new puzzle and half-answer, Pretty Little Liars is getting closer to its Summer Finale (3 episodes to go, people!) and look how pleased Aria is! We're only kidding, but the most recent episode 'No Stone Unturned' featured a whole host of critters including rats and raccoons, which was certainly an interesting choice from the show. As usual we will be summarising the highlights of the episode in our recap below first, with our review of the overall episode following after that. So, if you haven't seen it yet and don't want a spoiler-filled recap, then skip below to our review section! 

RecAp: 

Another day, another problem in Rosewood (seriously, has no one ever thought of moving?). This time it's Lesli and the Liars are convinced that she is up to no good. Hanna wants to get things moving and solve this mystery quickly (she really has improved her productivity levels from the first season) and charms her way into getting Lesli's car from a clueless valet. Teaming up with Spencer, Spanna then investigates the vehicle and finds a key card they can use to get in Lesli's lab. Great idea. I'm sure if Lesli was A she wouldn't, you know, have it booby-trapped or anything. Wicked plan. We also find out Lesli wears fake glasses (really?) and some impromptu trying on of the spectacles ensues, with Spencer really rocking that look. 

Spencer tries on her new look 

Meanwhile Aria and Emily are going to put Clark's photos back, and on their way out they happen to run into Clark (aka. Creepy Person #2) who insists on helping Aria look for her 'tripod' (a poor excuse she has made up for being back there). Emily then promptly ditches Aria for new bestie Sara (seriously Emily?? You've known this girl for what, a few weeks? Talk about poor misuse of the Buddy System) and Aria is left alone with Clark trying to 'help'. Time out, Emily is seriously coming across as a fixer-addict (think Cameron in HOUSE) and appears to love broken people. She really needs to sort out her priorities. But back to the recap. Emily is offered a fantastic opportunity to go to Thailand but turns it down to look after Sara after she gets supposedly 'grazed' by a vehicle coming home. Of course, this all seems very suspicious. 

Emily & Sara; gif by Swedishfishrule on Tumblr

Caleb appears to be feeling more and more out of the loop in this episode, running to Hanna's mum for comfort (the two appear to be on real buddy terms), whilst Hanna is avoiding him like the plague. But, after coddling Hanna for too long, Caleb is done with it and marches into Hanna's room, tell her she needs to quit it, and the two begin a long make-out session in her room. 

Caleb & Hanna; gif by alisonqueendilaurentis on Tumblr

It's a pity the same can't be said for Spoby (Toby & Spencer) as the former has been completely absent recently while new guy Dean makes the moves on Spencer. This is somewhat a recurring theme when Toby isn't around, and we wonder how long this one will last. Dean is interested in kissing Spencer, Spencer sort-of rejects him, but still seems interested. This stuff can get very confusing sometimes! Make up your mind Spencer, and where the hell is Toby? Does he have some sort of absent-quota to fill? Does he get a bonus every time he is 'away' and someone tries to hit on his girlfriend? These are important questions. Another Liar who seems to have a barrel of bad-luck in this episode is Aria, who finds a creepy doll in a junk-yard that looks like her (apart from the utensil stuck in its bloody eye) and seems upset when she finds Ezra chatting up another woman. 

The creepiest DIY doll ever?

Although, she does get her former beau to willingly give her a reference for her photography competition with massive embellishments. You win some, you lose some? Back at Leslie's lab, Spencer, Aria and Hanna investigate. The trio find that they have chips in the back of their necks when Hanna accidentally stumbles upon a metal-detecting device. 

"Why am I beeping?!"

Spencer is on hand to figure out the problem and the trio aren't best pleased. After which, Hanna, in a moment of caged-sympathy, releases a raccoon and rat (you have to love her). Spencer and Hanna are cornered, Aria comes in and has a rat jump on her shoulder and the group are promptly saved by Mona who shows up in a most creepy fashion. 

Surprise, bitches.

Whilst the group seem convinced Lesli is Charles, Mona is not, and says that Lesli simply doesn't want people to think she is unstable. She does however reveal that Lesli and Charles escaped Radley on the same night. Wait, what? Oh so Charles isn't dead then (not that we ever believed he was). The Liars seem unconvinced, but Mona shoots out some solid evidence and now it seems Charles isn't actually dead. Go, figure. Back at Emily's, Emily tries to investigate Sara for a chip but Sara wakes up and starts kissing her. How convenient. Who's taking bets that she doesn't have one? 

Emily & Sara; gif by Swedishfishrule on Tumblr

Other things that happen in the episode: Peter DiLaurentis receives a super creepy card from Charles which insinuates he is coming back to kill daddy. How sweet. 

Overall creep factor of the episode, a solid 7/10. 

Review:

Whilst the episode contained plenty of creepy moments, it was fairly lacklustre in moving the plot along at any substantial pace. The current Emily/Sara saga seems overly contrived and not especially suited to the former's character at all. Thankfully, it seems that we may only have to suffer for a few more episodes in that respect. Spencer and Hanna's dialogue was fortunately one of the more interesting moments, with the two proving they make quite the unstoppable quotation team. We can only hope we see more of them two for the rest of the season. With so many new characters being introduced to Rosewood and so many of the old characters being seemingly forgotten about, we can't help but wonder whether this is a clever move by the show-runners or a simple case of ignorance. Naturally, we hope the former, as it could mean we are building up to something more, but it seems foolish to forget (and neglect) old favourites in favour of introducing some new (and increasingly annoying) characters that don't seem to have much effect on the general storyline. Similarly, last season, Mona had some real 'moments' and Janel Parrish's performance as the character was one of the more favourable moments and yet she has been somewhat absent from the season so far. The same can be said for Sasha Pieterse, who despite being arguably the centrefold of the series has yet to make a strong impact on Season 6, and in particular this episode, which she was notably absent from. Overall, the story was average and didn't particularly add anything, other than to write Lesli off as a suspect, although there were a few funny moments from Hanna, Spencer and Aria. Hopefully the coming episodes will provide a real impact and switch around some of the character dynamics of the season so far. 

Watch the Episode 7 promo 'O Brother, Where Art Thou', below: