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It was originally a movie channel focusing mostly on romantic dramas and comedies, and television miniseries; similar to the original format of sister network, AMC (as American Movie Classics), the channel initially broadcast its films commercial-free.This format was abandoned on January 1, 2001, when the channel was relaunched as WE: Women's Entertainment, taking on an ad-supported general entertainment format. Other popular shows on the network included Secret Lives of Women, The Locator and Amazing Cakes.In March 2012, We TV confirmed that the network had ordered 14 episodes of Kendra on Top, a reality show following the lives of Kendra Wilkinson and Hank Baskett, who previously appeared in the E! Kendra said the show focuses on "motherhood, parenthood, and wife hood".In June 2014, the network unveiled a new logo, dropping the "Women's Entertainment" tagline.Not since “Superbad” has a high school comedy so perfectly nailed how exhilarating it feels to act out at that age, capturing the thrill of making a series of potentially irreversible mistakes with the person who’s always been there for you, even as it acknowledges the inevitability that said confidante can’t be your wing-woman forever.Granted, the all-summer-in-one-day device has been done before, and “Booksmart” is hardly the first film to portray such adolescent recklessness from a female perspective: “Clueless” and “Easy A” gave classic literature a contemporary spin; “Mean Girls” and “Blockers” revealed just how much dudes like Cameron Crowe and John Hughes didn’t know about women.

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“Booksmart” besties Molly and Amy pretty much aced high school: Valedictorian and student-body president Molly (Beanie Feldstein, who is Jonah Hill’s sister) got accepted to Yale, her top-choice university — and the first step in her goal of becoming the youngest Supreme Court justice — while study buddy and super-activist Amy (Kaitlyn Dever, “Justified”) plans to spend some time volunteering in Botswana before continuing her studies at Columbia.

” And it’s off to the library to find the address based on the available clues.

Still, it doesn’t take a perfect SAT score to realize that these two use humor, and a certain snarky condescension toward everyone else, to make up for their own social awkwardness. If anything, Molly and Amy are the ones who routinely make others feel inferior, and their stream of put-downs — directed at mouth-breather Nick (Mason Gooding), or snappy overdresser George (Noah Galvin), or slut-shamed Triple A (Molly Gordon) — are both uncalled for and hilarious.

That realization strikes when Molly, ducking into a super-skanky school lavatory where the graffiti is funnier than your average high school movie, overhears three presumed burnouts trash-talking her. None of this is what you’d expect from the directorial debut of actress Olivia Wilde, who cracked Harvard grads Emily Halpern and Sarah Haskins’ script, which had been kicking around Hollywood for nearly a decade (it was featured on 2009’s Black List, and has since been finessed by Katie Silberman, Susanna Fogel, and the director).

Confronting them, she discovers that through some grave karmic mistake, two are headed to top schools and the other has landed a mid-six-figure job at Google. Comedy is hard, and doesn’t get a lot of respect within the industry, but Wilde saw that something was missing from the crowded field of R-rated end-of-innocence comedies: These high-scoring young ladies not only routinely ruin the curve for their fellow students, but they also pass the Bechdel Test with ease.

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