Because I was literally about to drop to my knees and beg you." She squints her eyes playfully. "If you want to call yourself my girlfriend half as much as I wish you would, then it would save me a whole lot of begging. This follow-on novella to Hopeless and Losing Hope is chock full of heart and humor and genuine emotion. I'll never know how she does it, but Colleen Hoover manages to do in 90 pages what many authors cannot accomplish in a full-length novel. Unfortunately for Daniel, finding Cinderella doesn’t guarantee their happily ever after…it only further threatens it. Especially when the two loves of his life end up being one in the same. Daniel soon realizes the way he pretended to feel about Cinderella and the way he really feels about Six may not be so different after all. One year and one bad relationship later, his disbelief in insta-love is stripped away the day he meets Six: a girl with a strange name and an even stranger personality. Moments like that with girls like her don’t happen outside of fairytales.
When their hour is up and the girl rushes off like Cinderella, Daniel tries to convince himself that what happened between them only seemed perfect because they were pretending it was perfect.
But this love comes with conditions: they agree it will only last one hour and it will only be make-believe. Watch on Amazon.This novella is a companion novel to the Hopeless series, but can be read as a standalone.Ī chance encounter in the dark leads eighteen-year-old Daniel and the girl who stumbles across him to profess their love for each other. Ella uses the ball as a networking event, the monarchy lets a woman lean in at the table and everyone lives obnoxiously ever after, at least until the next Cinderella remake.Ĭinderella Rated PG. But with a narrative this asinine, even Driver crooning the opening notes to “Let’s Get Loud” is hard to appreciate. There are hints of the pep and panache that enlivened fizzier jukebox musicals like “Pitch Perfect,” for which Cannon wrote the screenplay. “Yes, I was just crying and singing about it, like, two minutes ago,” Ella whines, when the Godmother asks if she wants to go to the ball.
Everyone speaks in concrete, self-referential terms - a du jour dialogue styling often associated with screenwriting by Joss Whedon. Forget “Bibbidi-Bobbidi-Boo”: Here, the town crier raps, the ne’er-do-well Prince (Nicholas Galitzine) banters with his sovereign bros and the stuffy King (Pierce Brosnan) and Queen (Minnie Driver) harrumph over whose throne is taller.
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