Ever since Saved by the Bell bestowed upon Zack Morris a cellphone the size of a dumbbell, TV has been scrambling to keep up with young people’s tech habits. Clarissa Explains It All had DIY video games. Gossip Girl was the name of a blog as well as its author’s alias. Emily in Paris chronicles the birth of an influencer, regularly splashing Emily’s Instagram posts and growing follower count across the screen. When teens and 20-somethings became the earliest adopters of Snapchat and then TikTok, titles aimed at those demographics had to embrace them or risk being written off as irrelevant by a generation that is more inclined to watch YouTube anyway.
But what if young people immersed—so early in their lives, they can’t meaningfully consent—in a digital realm that stunts their growth outside it were no longer clamoring to see the constant barrage of text messages, push notifications, and social video they know so well represented on TV? What if, for a cohort whose approval of AI keeps declining and that made dumbphones cool again, the ultimate in escapist entertainment would be a show where tech was relegated to the margins, supplanted by face-to-face human connection in the natural world? In that case, the refreshingly old-school Prime Video teen drama Sterling Point might really hit the spot for Gen Z and their nostalgic elders.
Premiering with all eight episodes on Aug. 5, the series has a tremendously appealing protagonist in Ella Rubin, who played Anne Hathaway’s daughter in The Idea of You and looks like she could be the result of splicing Hathaway’s and Julia Roberts’ genes to engineer the ideal rom-com star. Rubin’s Annie is an independent, hyperconnected, Type A New York City teen, all big ambitions and nervous energy, though her kindness prevents her from being a stereotype. Her first words when the automated curtains on her bay window part in the morning are: “Sound machine off!” She eats breakfast in front of a laptop flanked by her phone and tablet. But her neo-yuppie fantasy is punctured when she’s rejected from a business-school summer program. Now, the months leading up to her senior year of high school stretch out empty before Annie. Her maddeningly unserious twin brother, Connor (Keen Ruffalo), is jaunting off to Europe with his girlfriend du jour. Her single dad, Steven (Jay Duplass), seems kind of checked out. And she’s well aware that her longtime boyfriend (Luke Avoledo) is closeted, which is probably why he doesn’t seem so excited at the prospect of her tagging along on his summer trip to Thailand. She’s just considerate enough to let him come out to her in his own time.
Annie gets a jolt in a new direction following the death of a grandparent she never met—Gordon, the father of her mom, who passed away when the twins were toddlers. Despite his estrangement from their family (according to Steven, he was a jerk), Gordon has left his grandchildren the island he owned in Canada’s beautiful Muskoka region, Sterling Point. A note enclosed with the will suggests that there are things Steven has been hiding from his children. So, self-sufficient Annie flies up to Ontario without telling her dad where she’s really going. A cascade of mysteries, revelations, and firsts, experienced under evergreen canopies and out on the rippling open water, her summer at Sterling Point changes her life.
Ella Rubin, left, and Amélie Elisabeth Hoeferle in Sterling Point —PrimePlenty of classic teen-drama tropes come into play. Not only does Annie get caught in a love triangle, but her two suitors each represent opposing factions of the community: townies and summer people. Ellis (Jacob Whiteduck-Lavoie) is a hard-working, year-round resident, and Rory (Daniel Quinn Toye) a rich New York acquaintance whose family has a luxurious vacation home nearby. As also tends to be the case in stories aimed at teens, the young characters are remarkably autonomous. But creator and co-showrunner Megan Park, whose films The Fallout and My Old Ass displayed deep insight into the inner lives of young women, isn’t mindlessly mimicking the mini-adults of Euphoria and Gossip Girl. (Sterling Point shares co-showrunners with the latter series, in Josh Schwartz and Stephanie Savage, which goes to show how conscious a choice its divergence from its millennial predecessors must be.) Like Annie, most of these characters have been forced by their parents to fend for themselves, emotionally if not quite literally. One of the most charming performances in a show that has many of them comes from Bo Bragason as Oona, a bubbly lesbian flirt whose mom has jetted off to India, leaving her in charge of her little sister (Mabel Strachan) and their houseboat.
Park takes her time bringing the parents’ generation into the frame, gradually revealing how many shocking secrets they’ve kept from their children. Some storylines can be soapy. The dialogue is occasionally stilted. Yet richly developed characters keep clichés from lingering. As in My Old Ass, the regrets of adults who erred mightily in their youth are poignantly contrasted with the brashness of teens who don’t know what they don’t know. There’s patience and, for all its jarring disclosures, gentleness in the way this story unfolds that are rare to see these days, not just in teen TV, but in any twist-happy streaming drama.
Sterling Point isn’t anachronistic or retrograde. Smartphones exist in its world, though they don’t often get service on the island. Queerness is no big deal. Rather, the show is a throwback in the sense that the characters spend most of their time just hanging out together, on a boat or at an outdoor movie screening, the way teenagers used to before their summers filled up with precollege programs, internships, schemes to become TikTok famous, etc. Romance happens through eye contact and heart-to-heart conversations; friends cry in each other’s arms. There are hints of Gilmore Girls in the show’s quaint setting and generational role reversal, traces of Dawson’s Creek in its adolescent earnestness. As Ellis tells Annie when she frets about having to break the habit of checking her phone in bed: “Once you get used to it, it’s kinda the best.”
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