A Good Girl's Guide To Murder Review: Just Do It

"Become who you are, make what only you can make." - Friedrich Nietzsche

I just finished the new series on Netflix, and to be honest, it was not my kind, but that's not necessarily a bad thing. (References, references...) I liked the show despite it seeming extremely "teeny" at first. The whole story is so simple yet effective and I can't find words to describe how perfect the casting was. However, as a cinemangoe, our job is to find the hidden gem, the unseen part, in everything we watch. And I can certainly say that there is a lot behind this heart-felt mystery. So let's dive deeper into our series. But...

Before getting to the part that made me want to share this show, let me finish all the other stuff I want to mention (No it won't take that long.) First of all, the show showed me that there isn't a thing called "my type" if we are talking about cinema. Although it seemed like a teenage show, the story was really well-written and the adaptation of the original story from the book is satisfying. I can say without hesitation that the show was more mature than many of the modern movies and shows of today. I never felt I was watching a teen series and I honestly believe the show isn't even a teen series although it is classified as so in some resources. Other than that, I once again want to talk about the actors who are just amazing. Emma Myers and Zain Iqbal are so perfect for their roles that I can't imagine them in any other role (which they would probably nail as well). I can talk about the acting for paragraphs but I probably should not hold you too long with all these "more clear" aspects of the show. Now it's time for the main point of this review:

I exist as I am, that is enough - Walter Whitman

Just Do It

Unlike some of my previous posts, I won’t be using many fancy subheadings this time. This one (and the only one) will clearly make my point: the show just "does it." There are no unnecessary super-aesthetic shots, no meaningless panoramas, no pointless dialogues, and none of the modern TV show clichés. The characters are just "normal." Yes, they might be solving a crime, but they are just like us—well-rounded and so natural. The setting, the plot... everything is just so authentic.

At first glance, you might think, "So what?" However, when we look at many modern TV shows and movies, we often see characters with unrealistic moralities, personalities, and relationships. This not only makes those shows less engaging but also has negative implications for society. When we watch these unrealistic portrayals, our expectations from life become equally unrealistic. Our normal lives are not something separate from the interactive movie we live every day. Just as we are influenced by our daily experiences, these movies can give us distorted understandings of the world around us. But when you watch A Good Girl's Guide to Murder, everything is just so natural and well-rounded. Personally, the show made me reflect on and question some of life’s most basic aspects, encouraging me to change myself toward a better future that I can shape. (Maybe it’s just me getting all this motivation and energy, but the show definitely provides a realistic approach to life.)

Beyond its natural approach to life, the show also uses cinematic techniques in a very authentic way. Cinematography, directing, set designs, camera techniques—everything is there because it needs to be. I want to particularly mention the music. At the start of the second episode, I was surprised to hear "electronic" and "techno house" music. However, as I continued watching, I realized that when you let go of your preconceived notions and just focus on the show without any stereotypical perspectives, the music fits perfectly. Again, the show demonstrates that cinema should be free from stereotypes and molds. Long story short, A Good Girl's Guide to Murder teaches not only the audience but also the entire cinema world that you don’t need any guides to create a specific genre of film. In fact, there are no such things as genres because cinema, as an art form, is a whole without separation.

We’ve discussed how A Good Girl's Guide to Murder tells directors, writers, actors, and producers to "just do it" by creating cinematic pieces that don’t belong to any genre and instead create their own form. Now, let’s focus on what the show says to us, the audience. And actually, it says the same thing: "Just Do It," but in a different context. This time, the show embodies the mantra "Just Do It" by challenging the audience to embrace their authentic selves in a world saturated with false idols and superficial expectations. Through its narrative, the show serves as a compelling commentary on the pressures of conformity and the courage required to break free from societal molds. The characters are often confronted with the choice between following the crowd or forging their own paths, reflecting the philosophical notion of existentialism, where true freedom is found in self-definition and personal responsibility.

The show’s portrayal of its characters' journeys highlights the struggle to reject external definitions of success and morality. It suggests that true identity is not something inherited or imposed, but something actively constructed through choices and actions. By focusing on characters who confront their limitations and societal expectations, A Good Girl's Guide to Murder illustrates the existential idea that authenticity arises from self-awareness and the rejection of inauthentic living. In this sense, the show not only tells a gripping mystery but also serves as a philosophical exploration of the human condition, urging viewers to embrace their unique potential and "Just Do It" by living authentically and purposefully. (Oof, that was a little philosophical but definitely satisfying to write.)

After watching A Good Girl's Guide to Murder, I realized that while I might not be solving crimes or living in Little Kilton, there is a universal truth that transcends the show’s fictional world: the authenticity of the characters' thoughts and emotions. I found myself drawn to the individuality and freedom embodied by Pip and Ravi, along with the unique dynamics of their relationship. Their journey showed me that to become someone worth writing about in a book or starring in a TV show, you must simply be yourself. It’s straightforward yet profoundly complex—being true to yourself and doing what only you can do.

Pip and Ravi aren’t just characters; they’re idols for anyone searching for their true personality. Their love and friendship demonstrate that being inspired by someone doesn’t mean copying them; it means recognizing their uniqueness and finding that same uniqueness within yourself. The show echoes a powerful message: "Just Do It, Just Be Yourself." Through these characters (especially Ravi, with whom I surprisingly related a lot), I found a reflection of my journey to self-discovery and realized that authenticity is the key to becoming the best version of myself.

Alright, I guess that’s it. Maybe I over-interpreted the show (just a little bit:)), or maybe there are many more messages to discover in this TV show. Whatever it is, A Good Girl's Guide to Murder changed my perspective on cinema and life. It showed me that cinema is pure and doesn’t need any stereotypes. A Good Girl's Guide isn’t a teenage romance, nor is it a crime mystery; it is just A Good Girl's Guide to Murder. It is inspiring as it is and taught me subtle yet life-changing things about life, the journey of self-discovery, the search for love, and the discovery of one’s true character. The show was more than just a simple Netflix & Relax watch for me, and I’m so glad I gave it a chance. It may not be at the peak of cinematic arts, but it definitely has something for everyone (at least it did for me). And that’s it from Alphonso the Cinemango. Now it’s your turn to find out if there’s something in this basic yet powerful TV show for you too.

If you want more simple, but meaningful cinema, here are some gems for you:

Living With Yourself (2019)

Eternal SUnshine of... (2004)

Dead Poets Society (1989)