Large portions of it blend seamlessly into the visual language of the interstitial ad breaks. It is a world punctuated by shots of attractive swim bodies with the heads cropped off, tanned arms holding craft cocktails jutting into the frame, car doors opening with legs extended outward, and distant tilt-shifted landscapes. Just as the original series was, but now with a slightly more frantic, more overly produced tempo, New Beginnings is full of glowing yellow lens flare, unsubtle music cues, and anonymized montages of a curated version of L.A. The first thing I noticed about New Beginnings is that its cinematography is now indistinguishable from the commercials that run alongside it on MTV. The palm trees, the staged conversations, the careful shots of getting ready to go out, the slightly feral hint to Spencer Pratt’s lips as he contemplates an upcoming party - we’re back, baby.Įxcept that the rest of the world is not quite in that place anymore, and in some ways it’s because the rest of us have caught up to where The Hills once forged a new path. The faces, the bodies, the shots of surfing, the glossy lips pursed carefully around a cocktail straw the drawn, concerned female expressions, and the furrowed eyebrows of male frustration the eyeline that drifts off over the horizon when some painful topic is mentioned. Part of that is due to the look of the thing. And yet for the most part, The Hills: New Beginnings feels eerily unchanged from the original series. Many have since married and had children. There are some new additions, but many of its original personalities (players?) have returned, nine years after any of them were last featured on MTV as representative of a generation of cool youths in Hollywood. The Hills, a show that helped define the current age of reality TV and taught its audience to deconstruct that genre all in one fell swoop, is back.
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