This Content is Brought to You By, A Global Disaster: Love in the Time of Corona Review

 

Some people may find it strange to be thinking about love during a time like this. People these days tend to be taking more tests to check for a viral respiratory infection than an STD. While some have been concerned about what the dating scene will be like Post-COVID, others are experiencing it. Whether it's a masked date to an outside seating restaurant or a virtual tet a tete, people are finding ways to keep love alive in the midst of all this death and sorrow.

Those words speak only of romantic love, however. When you really think about it, love is one of the most logical emotions to have in your mind during times like these. We think about how much we love our friends, families, even our mild-acquaintances like the mailman or a neighbor. We love our pets for giving us hugs and comfort when we are unable to receive it from others out of fear of community spread. We love our hobbies for they keep us sane and we love our coworkers for they stand in solidarity with our fears and apprehensions regarding the present as well as the uncertain future. We love our healthcare workers for their continuously brave sacrifices, and we love politicians because...actually, we don't, never mind. The point is, love has been in lock-down with us, in quarantine, even in the hospital bedside for far too many when their loved ones were forbidden to be. Love hasn't just kept us company during these last several months, in one way or another, love has sustained us. 

"You can't quarantine love." is a sentiment expressed in the recently released limited series Love in the Time of Corona. Shot during the month of June, the series examines the lives of several people in Los Angeles during the lock-down period of late March and April. Creator Joanna Johnson went to impressive feats in order to accomplish what is essentially a Gary Marshall movie set during a Global Pandemic. Firstly, she had to cast before writing, as the series storylines depended on which actors were available to film in Los Angeles inside their own homes. Once assembling the cast was complete Johnson and her all-female writing team began the process of fleshing out the storylines based partially on each individual's personal life situation. 

The series was shot inside the real homes of each cast member and features two real-life married couples, one of which includes their teenage daughter in her debut television acting role, Ava Bellows. It also includes real-life close friends Tommy Dorfman and Rainey Qualley who acted inside Dorfman's apartment. A minimal crew was used with only one individual entering each respected household to assist in camera set-up. Actors did their own hair and make-up as well as provided their own wardrobe and most of the props. In the age of Corona, actors have a much more hands-on approach to the filming process; one must wonder how much of a humbling experience this was for many of them. 

The four-part series is rightfully being compared by many to Love Actually (2003) in terms of structure, style and tone. This is rather accurate, the series never takes itself or this situation too seriously, which can be both problematic and refreshing. Its intentions, after all are to inspire and instill hope and positivity. You want to be depressed and informed, go watch Contagion (2011) like everyone else. 

The script sometimes feels overly reliant on references that are pressed firmly on the "hot topic button" such as the usage of slang like "sus" in the dialogue and a notably unapologetically queer Tik-Tok montage. You can pretty much guess where each story will end by the conclusion of the first episode and the split-screen video calls, though a technical safety necessity does get old after a while. 

The show further suffers from an extremely short runtime in terms of television endeavors with such lofty ambitions such as this. By alternating between four different plot threads, the characters never have real room to stretch amongst the clutter. It is only a half-hour show, and we feel as confined by the brevity of the runtime as the characters are by their predicament itself. We get glimpses of narrative growth sprinkled throughout but nothing that really concludes in a satisfying whole. For example, we never dive very deep into why two brothers are estranged from one another. Additionally, in the first episode, we see Ava Bellow's character, Sophie getting broken up with by a guy she has such fundamental differences with, it makes zero sense why she was even remotely interested in staying in the relationship at all. Yes, she's a teenager, but she's also not a complete idiot if she can spew all these scientific and social justice facts out on request. Later her plot does touch upon the ignorance that many young people have had by attending large gatherings despite being instructed not to. She is convinced by a character using many of the placative excuses we see regurgitated on the internet by anti-mask and virus-deniers: it's safe for young people, you'll just get the cold, it's not even that big a deal, etc. While this is relevant the way, her friend convinces her ultimately comes off contrived because we know she knows better. Despite the immense threat that she puts her family in by going out, she receives no repercussions for it, and the family does not even try and get tested even though they've been put at serious risk. This sends a message that breaking the rules of quarantine as a child or adult is funny and forgivable rather than serious and selfish.  

Whenever the series does touch upon interesting and nuanced subject matter such as this, it doesn't have the time to devote to giving it the complex examination it deserves. There is an elderly character in a nursing home. Yet, no discussion is had on the persistent rapid infections that are occurring inside them across the country. We have a Black Lives Matter plotline, but this too ends up feeling more referential than substantive. One conversation between a black mother and her son on the topic of police brutality is summed up essentially with the notion that they just need to live with it and find the joy in life despite this oppression. Uh, what? This is the most glaring missed opportunity of the series as a whole. At a time when we have two pandemics ongoing, one viral, the other systemic, both deserve to be treated with greater reverence than this series is capable of providing. It's much like socially-distancing to see your friend. It's nice enough, but far from ideal. 

It is not the most compelling piece of television you will have watched this year, especially when you consider how much free time so many of us have had to watch television in the last few months. It is an accomplishment in itself; however, giving early indications of how pandemic productions can function safely and efficiently as well as allowing for a psuedo-cinema-verite style of creativity that would otherwise likely never even be attempted. Still, if we are going to make reflective art from this absolute mess we call life on earth right now, surely we can find something stronger to say than this? The series doesn't have to be all about the sorrow, but it can't ignore it or wipe it away with a disinfectant wipe either. Yes, to some degree we want escapism but we also want some sense of solidarity and understanding from the entertainment industry if they are going to dive into this current subject matter. None of these characters are impacted by COVID, not really. More than anything else, they are inconvenienced by it. That is not the case for so many out there who may have wanted their strife represented on screen more accurately with some welcomed laughs and lovable moments sprinkled about as well.

In the end, it's okay if you don't like Love in the Time of Corona, or even if you hate it. If you get no entertainment value from the programming and are no more or less inspired to find love in all the available spheres in which it resides during these dangerous and delicate times at least let it be a reminder of how ingenuity and nostalgia can, when combined together, allow us to engage in important conversations about health, human rights and yes, of course, love, when we are so far apart from each other. Even if those conversations are not being substantially had by the characters on the screen, the mere mention or suggestion of them should be enough to encourage viewers to start conversations surrounding these topics with those in their life. In life, things can and do often work out. Months ago we never would've imagined anything could be safely produced during this high-risk time and yet this production safely succeeded in that. We may be entering a time, for however long it may be, where the final product of a creative project may be of less interest than the ultimate health and safety of those involved. Then again, it should've been that way before, but we are all learning and opening our eyes to thoughts and ideas we would've never otherwise entertained. It is the small solace of COVID, an awakening, not gentle and tender but volatile and assertive. Watch Love in the Time of Corona, or not, just remember there is always hope, there is always love, and there is always art to be shared, no matter how inventive you may have to get to share it. It may not be the best hope, the best love or most certainly the best art, but it's proof. Proof you are here, proof that you are alive, and that you are living, hoping, loving and creating in times that have never occurred quite like this before. 

Magnetic Baby: From Attraction to Rebellion

I've decided to try something out this month that I haven't done before. Instead of discussing some major motion picture or television series that we've all been feasting upon during these...never mind if I hear one more person refer to these as "crazy times, including myself, I'm throwing my computer at the wall. Anyways, I'm going to be discussing a short film you may not have heard of, but you should most definitely take a look at.

When I was in film school at Brooklyn College two years ago, I partnered with another young aspiring filmmaker, Matty McGaffney, for a student project. As film students so often do when sharing space together, we spoke of our dreams and aspirations for ourselves and more importantly, for our work. Matty told me of a film idea he had been working on for quite some time. Like any true artist, he was able to pitch it to me on the spot, and from the first few sentences, I knew two things: 1. His story idea had inherent cinematic value, and 2. I was talking with someone who had a genuine passion for creating meaningful art. These were not common attributes always found in people in the film department as there were plenty of students that were all about technique but lacked vision and vice versa. I, myself still feel that I lag in both areas, but Matty was determined to press forward with his dream and bring it to life. A few short years later,  Magnetic Baby (2019) was born unto the world. 

The 12-minute short film details the story of Michael, a boy barely 18 years of age who has a secret passion for men and glam-rock. Deciding to break out of his shell of suburban repression he goes out one night to see Semi-Precious Weapons (a real rock band fictionally portrayed) perform at a bar in the underbelly of New York City. Michael immediately catches the eye of lead singer Justin Tranter, who invites him for a night on the town which quickly becomes a night of sexual liberation and spiritual awakening for young, docile Michael. 

Micheal is played to great effect by actor, Ian O'Boyle who echoes a young Adam Driver in his tender balance of fragility and hidden ferocity. Everyone has fantasized at some time or another of being invited into the private walls of their musical idols. Thomas Henke allows Justin Tranter to become the ideal punk-fairy-godmother of Michael and our's twisted dreams, never overselling the distinctive look and style of the real-life performer. 

The set and costumes appear to use white as a central color in the first act to represent Michael's purity. Everything from his home to his t-shirt has a feeling of sterility to it which contrasts beautifully to the kaleidoscope of colors and hues he is exposed to when he immerses himself into the gritty and glamorous grunge NYC nightlife. The most memorable shot of the film is when Tranter sprays the audience with alcohol as he is on stage performing. As we see the droplets cascade upon Michael's face, it is as if he is a budding seedling getting the water and nutrients he so desperately requires to bloom fully and oh does he come to bloom later in the evening.

Magnetic Baby is not only a testament to the importance of hard work and dedication that was so evidently put into creating this short film by its filmmaker, cast and crew but it is also a message of inspiration. Even if the glam-rock world isn't your thing, you can and should take the time to appreciate the journey of a young man finding his identity on his terms, not anyone else's. This is a valued lesson for people of all ages, especially as we face a world riddled with fear and uncertainty right now. We cannot allow these unfortunate circumstances to completely hinder us from growing into our next selves, evolving in our own, personal evolutionary scales. Watch Magnetic Baby and more films made by aspiring and established artists that might not be mainstream but are most certainly authentic. You may find that these filmmakers have just the right balance of paying homage to the past, the film is an obvious nod to Almost Famous (2000), as well as having an eye looking towards the future, one that is more inclusive and diverse than the civilization we were inhabiting before. It was an honor to get to see the film from conception as an idea in a young man's head, to a piece of living, breathing, sweating art.

Juneteenth: Pandemic of Prejudice

BLACK CHILDREN'S LIVES MATTER!

It's difficult to put into words what these last few weeks have felt like, and if it is difficult for me, I can't even begin to fathom what it must feel like for people of color in this country and around the world. George Floyd's death sparked a revolution that has been brewing for centuries since the so-called claim to "freedom" was decreed by the Confederate's defeat in the Civil War. Juneteenth is a holiday I was not aware of before this year admittedly. It is a yearly recognition of when the last slaves of this country were formally freed in Texas, two years after the end of the Civil War. We don't learn that in school, at least I didn't. Growing up, we were encouraged to have this idealist image that when the slaves were freed all across the reunified country, they just dropped whatever they were doing in servitude and went on their merry way to freedom. History is obviously more complicated than that, and if anything has been learned in the last few weeks it is that the complicated cannot be dismissed, it must be addressed, no matter how tangled the webs. No matter how uncomfortable we may find ourselves when entangled inside them and no matter how shocked we may be to discover that we and our ancestors, whether consciously or otherwise, have been helping weave these sorted webs for centuries. While my lack of education, whether from others or myself, on this historic date and its significance does shame me, I will not spend any lengthy time on my guilt or my sorrow. This isn't about me, and I am constantly reminding myself of that fact every single day, the same way I have to remind myself that though I may feel as though I am living in a quarantined bubble, this pandemic isn't just happening to me either. My penance is to become educated. My penance is to educate myself, to research and learn from others more experienced in such serious matters than I, be it because of their skin color, academic ranking or just general far more extensive life experiences regarding racial inequality. By learning more I can be a better ally, while still keeping myself in check and ensuring that the topic stays on "them", the oppressed, and not myself, the ally and in many ways, the inadvertent oppressor.

My love for film and television, fortunately, puts me at an advantage here in terms of education. I know that there are a vast array of films, television series and documentaries that can help me further understand numerously different subsections regarding the subjects of race and racism. This blog post is a tool to help others find these resources across the various streaming platforms that so many people have access to today. If you think other people in your life could benefit from this enriching education as well, or know someone that actively wants to but doesn't have access to the same resources as you, this is the perfect time to be an ally to them as well. Please share your information with them, share your accounts log-in info. The more people who we educate, the stronger we are in this fight against a system of bigotry, hatred and intolerance. 

BLACK MEN'S LIVES MATTER!

Netflix:

While many have rightfully questioned the decision of this streaming giant to add a "Black Lives Matter" section to its service platform as more of a marketing ploy than a declaration of solidarity, either way, Netflix is still home to an abundance of content featuring people of color at the forefront. Series like Dear White People do a great service not only by putting young, black voices front and center in its narrative but alternating between these different voices as focal points of various episodes. Everyone gets to be heard, and everyone has something different and meaningful to say on college, life and yes, race. Trigger Warning with Killer Mike is a great docuseries that deals with various issues that affect the black community in everyday life and encourages a humorous, but still substantial dialogue on how to rectify these matters. Netflix also has a slew of content from the great director Spike Lee. Educating yourself does not just have to mean watching content exclusively about racism, but also watching content that simply features black people living their lives, authentically. So go ahead, watch Do The Right Thing (1989) but don't miss out on the female empowerment of She's Gotta Have It (1986) simply because the film does not deal with racism overtly. The same can be said for the heartbreaking story of a gay black man from youth to adulthood that is depicted in Barry Jenkins's Oscar-winning film, Moonlight (2016). Racism doesn't have to be the primary conflict for it to be present in a film. If you only take in media about overt racism, you risk mentally depicting people of color in your mind as perpetual victims, lacking autonomy rather than recognizing and appropriately celebrating their strengths, fortitude and unique cultural contributions. 

Hulu: 

While I have not officially started Black-ish yet, though I intend to very soon, my parents and I did sit down to watch the episode "Hope" which deals with the subject of police brutality from a multiple-perspectives within the show's central black family. The episode is a thoughtful and memorable watch that doesn't sugar-coat the sensitive topic one way or the other, and it should be watched whether or not you intend ever to view the series in its entirety. However, given its highly regarded record with critics and audiences alike, I highly suggest you do. Hulu also currently has another Barry Jenkins masterpiece,  If Beale Street Could Talk (2018) available to watch for subscribers. This film is based off a novel by critically acclaimed black novelist, James Baldwin, and it tells the story of two young lovers in the 1970s torn apart by a false rape accusation that lands an innocent black man in jail and a family fighting against a justice system that shows little interest in the truth than it does in retaining the white status quo. It is a chilling depiction of a skewed criminal justice system but also reinforces the power of love and family, which can exceed all plights and prejudices.  

BLACK WOMEN'S LIVES MATTER!

Amazon Prime/AppleTV:

Amazon Prime is currently a fantastic source for film and documentary content regarding black history. It, along with other streaming services like AppleTv, have made numerous films available for free without a rental fee. These films that can be found on either streaming service include: The Hate U Give (2018), Selma (2014), Just Mercy (2019), Monsters and Men (2018) and many others. I've watched two documentaries thus far on Amazon Prime that were both about black cinema that I found to be extremely informative. The first is A Century of Black Cinema (2003) which might be a bit dated in terms of style, but still nevertheless highlights some major black artists from over the years in Hollywood and how they transcended racial boundaries to attain stardom. The second is  Birth of A Movement (2017). This documentary latter tells the story of how civil rights activist, William Monroe Trotter tried to stop the emphatically racist early cinema blockbuster, The Birth of a Nation (1915) from being released widely across the USA where it ended up reigniting the popularity of the Ku Klux Klan. Hopefully, Amazon Prime and AppleTV keep this content free and accessible to viewers for the foreseeable future and do not pull them away from public attention when they feel this "fad", as some may wrongfully call it, has passed over. It must never pass over, never again.

Disney+:

While it might sound strange to turn your attention to Disney of all places for informative content on race, the hidden gems are there and can aid you in having conversations with young children about these often delicate subject matters. That's So Raven, The Proud Family and Smart Guy are all past television sitcoms available on the streaming service that feature episodes that deal with racial inequality in some form or another. Even the ones that don't feature such hefty themes are still worth the watch for the same reasons as people should watch Black-ish. These television programs are a reminder of our unifying qualities as human beings as well as our established differences. They highlight the idea that the so-called " Classic American Family" has no singular look, race or creed. Indeed, each of these television programs has aged like a fine wine. It would do Disney well to consider how they can not only honor their legacies moving forward, but also build upon them with new content that is even more diversified and unafraid to tackle "touchy" subject matter like racism. We can only hope, but hope is as vital in today's world as it has ever been before. 

BLACK TRANS LIVES MATTER!

YouTube: 

Youtube is obviously a great resource to gather information directly from the minds and mouths of those who know about these issues best, from everyday citizens to academic and psychological specialist who deal in these subjects within their trades on a daily basis. What's also great about YouTube is that for the most part, it allows these vital voices to come across unfiltered or censored by the often annoyingly troublesome confines of television networks or studio heads. There are YouTube videos available that allow you to directly donate to Black Lives Matter and other socially-progressive movements simply by watching the video without skipping ads, thereby increasing its ad revenue. Be careful, however, as there are certain ways to do it to ensure that your view is properly counted towards viewership. Be sure to read the description and/or comments section for tips on how to ensure your view is contributing to their overall ad revenue. Of course, films, television series and documentaries are also available on YouTube, though often for a price. One exception to this that I watched just this afternoon is Within Our Gates (1920). This silent film, directed by Oscar Micheaux, is believed to be the earliest surviving film written and directed by an African American. The film is seen as a response to D.W. Griffith's racially bias The Birth of A Nation, though ironically because of those same racial biases, the film never received the same level of attention and notoriety as Griffith's film. Still, it is a heartening tale of intolerance and brutalization and is furthermore a direct rebuke of the disgusting notion made by Griffith and his movie that black people are primitive and carnal by nature. Any history or film buff should absolutely give it a watch and continue to scour YouTube for more freely-available historical and informative content of a similar nature.

BLACK NON-BINARY LIVES MATTER!

Conclusion:

None of this is meant to overwhelm you. I lay it all out to merely acknowledge the 

plentiful resources that are at so many of our fingertips with a quick click of the remote control so that we can gain greater knowledge on these crucial issues still plaguing this country and this world. Watching videos on Instagram and Twitter of racist incidents or even worse, violent deaths at the hands of the oppressors and posting about your outrage is not enough anymore, frankly it never really has been, and I say that from a place of self-reflection. We have to actively take steps, as black activist Angela Davis says: "In a racist society, it is not enough to be non-racist, we must be anti-racist." Who we are is tested by what we tolerate and too many of us, myself included, have tolerated racism for far too long in our society. While trapped still in one pandemic, we have been forced by the murders of those like George Floyd, Breonna Taylor, Ahmaud Arbery, Robert Fuller and Tete "Otis" Gulley, among countless others, to come to terms with the fact that a second pandemic has been ravaging our society all along. Unlike COVID-19, a vaccine won't cure it. We have to, one day at a time, one action at a time, but certainly not one single action a day. Why not have your first action be to sit down on your couch, turn on your television and educate yourself on the lives and tribulations of black people using any of these recommended sources as your first, but certainly not last, lesson in systemic racial discrimination. 

BLACK LIVES MATTER!

Pandemic Picks Part 3

Half of It (2020) 

Some films just feel as though they've been made for you. Half of It was recommended to me by my best friend, and who better to give you pandemic binging recommendations than one of your closest confidantes? Funny enough, the film itself is very much about confidantes, those we trust with our secrets, the secrets we tell outright as well as the ones we reveal subconsciously through our behaviors and actions. When a quirky high-school jock named Paul falls for the local pastor's daughter, he enlists the linguistic help of Ellie Chu, a brainy introvert who writes academic papers for cash. What blossoms, is an unusual friendship that fosters seeds of unrequited love in the most unexpected hearts. It is best not to spoil the plot's more intricate details and allow audiences to experience and interpret them for themselves. The film avoids archetypes for its central characters, giving them inspired moments of depth and complexity just when you think you've gotten them all figured out. It finds new ways to explore a genre that feels at this point so worn and tired-out. Paul, especially, receives added layers of emotionality that make him more investable than similar characters found in other genre films. Chu is the true shining star of the film, however. Her jadedness is understated and ultimately warranted by a heartfelt backstory that takes its time to unfold. The film uses the opposing ideologies of Ellie and Paul to appeal to both cynics and optimists alike, representing each of their perspectives with a decent degree of respect and dignity. The film touches upon topics ranging from sexuality to the struggles of immigrant assimilation, giving each just enough attention to say something meaningful without deriding the plot into a hokey sense of forced-sentimentality. The pacing works beautifully and gives all the essential characters and their intertwining relationships time to grow and develop properly. It is a Rom-Com that ends up being more about human connection than first-love and first-loss. While many critiqued Love, Simon (2018) for being a white-washed depiction of the gay-teen experience, Half of It highlights the ground potentially broken by Greg Berlanti's film, and how it has paved the way for more inclusive and diverse LGBTQ narratives. These films achieve such diversity simply by not making "gayness" a topic that solely encompasses heartache and tragedy. The film is one that deserves greater attention from adults and teenagers of all different sexual orientations. Hopefully, it will too, pave the way for more queer narratives that balance laughs and tears with such touching and sincere equilibrium as it so does. 

The Assistant (2019) 

"Trigger Warning" has become a common vernacular used in relation to consumer consumption of various forms of media and entertainment. Warnings of sensitive subject matter that may negatively impact the mental health of a particular individual or group of individuals watching. Sometimes, however, trigger warnings aren't needed, and a film's logline may be enough to indicate to someone that they might want to think twice before watching. When I chose to watch The Assistant with my parents one night the primary reasoning behind my decision was that the film stars Julia Garner, who we all greatly admire for her work on shows like Ozark and Dirty John. I had not considered that the film, which is centered around a day in the life of a young girl working as an assistant to a prominent fictional film producer, might be sensitive subject matter for me. I am an aspiring screenwriter and am currently searching for my first entry-level position in the film industry, or at least I was pre-COVID. Much of my research about talent agencies and production companies have warned me of the often harsh and stressful working conditions found within them. Most of my research, which has included speaking to people who actually work at these kinds of companies have given a general consensus that the everyday working environment truly comes from the top down. Who your boss and superiors are dictates much of the mood and atmosphere you'll be transversing as you go about your daily duties. This film seems to reinforce that idea and while it is an undeniably dreary affair, solace, I suppose, can be found in the notion that not every production company is like the one depicted in the film. Not every boss is as callous and cruel as the unseen spectre that looms over Garner and the supporting cast for the entirety of the film. The problem is, you can't really know until you go out there and see for yourself. I had a minor anxiety attack after the movie was over, fearful that it was prophetic of my own future in the industry. The truth is, it very well might be, but better to know now then be horrifyingly surprised and emotionally unprepared, later. The film is not a story of over-coming triumph. It is no spoiler to say that Garner does not take down her tyrannical boss in the span of a single workday. It does show an attempt from her to reach out for allies, only to be humiliatingly defeated by a vindictive and vilifying Human Resources Head. While many may view the ending as overly down-beat and defeatist, take a second look at the powerful performance Garner emits through silent gazes and gestures throughout the film, most notably in its final moments. It is in those final moments that I now realize her light has not been extinguished. She does not quit the job; she leaves to go home and rest up for another day of psychological abuse and under-appreciation tomorrow. This quiet fire that she carries inside her could very well lead her to success one day, and the film covertly reminds us that no matter how hard things may appear we cannot give up, not if our passions are truly aligned with our chosen paths in life. As we grow stronger and more influential, these tyrant's times in power comes more and more finite. We have to be the change we want to see in our lives, our relationships and yes, even our preferred industries of work. That Garner's character does not quit speaks volumes to those in similar situations throughout the entertainment industry and in other workplaces plagued by similar issues of bullying and misogyny. What we cannot change today, we must work towards changing tomorrow. Maybe I'm just an average optimist. Maybe I am trying to compensate for the still-lingering anxiety the film instilled in me through its haunting illustration of disvalue. Whatever the reason, director Kitty Green's film gives us a lot to be concerned about regarding workplace conditions in the entertainment industry, especially for young and vulnerable women. Still, it also gives us ample reasons to stay in the fight to keep working towards our dreams. Even if we don't ever reach the positions of power, at least we will have the confidence of knowing we did not allow ourselves to be berated and besmirched without attempting to create something better, not just ourselves, but for all the generations still to come.

TV Recommendations

1. Little Fires Everywhere - (Hulu) 

If the viral Amy Cooper (Dog Lady in the Park) video is getting you heated about the continuous problematic and toxic race relations in this country, Little Fires Everywhere should be your go-to binge right now. Though set in the 1990s the heart-wrenching and blood-boiling story told over the eight-episode miniseries rings all-too-true still in current society about how we create barriers, whether they be out of guilt or a sense of superiority between us and those that are different. That difference could be in race, but also sexual orientation and even gender. The show asks questions we still have not answered as a society and is supported by an immensely talented multi-racial cast led by Kerry Washington and Reese Witherspoon who play deeply flawed and relatable women who are just trying to do what is right in their mind's eye. The issue the series unveils is that everyone's mind's eye has on a different set of glasses that skew our perspectives and inhibit us at times from realizing the cracks in our own complexions. We have to take the glasses off, even if we may not like what we see. The show will leave you with deep scars, but you'll be thankful to have received them because you'll remind yourself that others have received far worse in life for unjust and unimaginable reasons.  

2. Raising Dion - (Netflix)

With a market so completely saturated with superheroes stories, some better executed than others, you'd honestly think there was hardly any terrain left uncharted. Raising Dion proves you wrong in a big way. As a little boy discovers he has superpowers his mother must find new and innovative ways to keep him safe as dark forces threaten them and those they love. The balance of humor and drama in the show is sometimes off-kilter, but this is made up for by a committed and more-than competent cast, led by Ja'Siah Young as the titular character. The show advocates for diversity in multifaceted ways by featuring characters queer, of color and disabled. These characters and their arcs teeter comfortably, but never actually fall over the line into full-blown melodrama. With impressive special effects and nuanced performances and storytelling Raising Dion is a feel-good series in a time when we are and should be celebrating so many real-life heroes on a daily basis.

3. Harley Quinn - (DC Universe)

Another different approach to the superhero genre can be found in the original animated series Harley Quinn about everyone's favorite sexy jester minx. The show chronicles Harley's separation from the Joker and forming of her own gang of criminal cohorts. The show is earnestly hilarious not only in its raunchy moments but its quieter ones as well. The characters idiosyncrasies are so well ingrained into their attitudes and dialogue that you come to love and appreciate even the most loathsome of beings like Bane or Dr Psycho. Its sporadic, unapologetic gore also helps set it apart from previous television and direct-to-DVD endeavors and raises the stakes significantly for the characters throughout. It is not afraid to poke fun at past incarnations of these characters or even questionable attributes in their origin stories, such as making Mr Freeze a creepily obsessed husband rather than a simply misunderstood and devoted one to his sick, frozen wife. The voice cast is energetic and on-point, never phoning it in or ringing false in their performances especially Kaley Cuoco, Lake Bell, Christopher Meloni and Tony Hale, amongst many other talented artists contributing their voices to the program. Amongst the laughter and thrills, the show even manages to move us in emotional ways we may not expect as we relate to the underdog protagonist and her similarly undervalued companions. It is a must-watch for DC fans and anyone looking for a fun and wild spin on a well-established formula and intellectual property. 

Pandemic Picks Part 2: Two Men and a Lady

1. The Invisible Man (2020)


Though it would have been magnificent, I'm sure to have gotten the opportunity to have seen it on a big screen there is something undeniably intimate about The Invisible Man (2020) that makes a first time home viewing all the more appropriate and emotionally effective. The film takes us into domestic settings and gives them a distrusting aura. A bedroom is no longer a safe space, and a kitchen becomes isolating instead of unifying. Director and writer Leigh Whannell, who was the idea man behind the Saw Franchise takes what could have been an easily mishandled sci-fi premise and turns it into something fresh, relevant and earnestly terrifying. It is a shame that Universal Pictures had to go through the cinematic tragedy that was The Mummy (2017) in order to arrive here. Originally intended to be a shared universe (the Dark Universe) Universal had planned to recreate the classic monster movies of Hollywood's Golden Age in new and exciting ways throughout several connected films. The Mummy highlighted a fundamental misunderstanding of how to handle this material that audiences still felt connected to decades later. They don't want a complete creative overhaul of the stories they've come to know, love and fear, but they also do not desire an incompetent rehash of these genre-defining tales either. The Invisible Man succeeds most frequently because it places itself somewhere comfortably in the middle. It is familiar enough, but also contains plenty of new ideas on how to reinterpret the beloved material in meaningful ways. Taking clear inspiration from films outside the horror genre, most notably Sleeping With the Enemy (1991) the film tackles the subject matter of domestic violence with surprising subtly. The plot smartly skips over our protagonist troubled marriage, and the audience is spared scenes of blatant domestic violence that are instead articulated by Elizabeth Moss's performance later on. Everything from her body language to her facial expressions tells us the type of marriage she was trapped in; the rest is a picture we can paint for ourselves in our own minds. The plot eschews many cliches, providing jump scares that are inventive and less predictable than many contemporary thrillers and horror films of the recent past. It sometimes seems to forget that it is not a supernatural film and therefore fails to explore some of the logistics behind its antagonist's dastardly schemes. Where does Adrian sleep, or eat for that matter? How did he and his brother fake the suicide so perfectly without raising any suspicion from the authorities? How is he able to always follow Cecilia even to places that would clearly require him to access via a motor vehicle? If one approaches the film from a more metaphorical interpretation, seeing him as a simple allegory for Cecilia's pain and suffering, these questions are basically pointless. Still, to those of us who appreciate nuanced details in regards to filmmaking and plot structure, these would prove to be reasonable inquiries. Though the ending is undeniably satisfying in a Post- Weinstein society, the pacing of the film hits a speed bump towards the end as the climax can't help but feel fifteen minutes longer then it should be. Some may argue this is merely Whannell challenging genre conventions. Still, even if the material on screen is engaging, that doesn't mean he can transcribe the narrative to us seamlessly. The rips in the seams are apparent throughout in little ways, but those who are looking for a film that is frightening on a humanistic level and fantastical one will find dozens of redeemable qualities within this film than faults or flaws. The bar was set pretty low, and The Invisible Man is a hopeful sign that these monsters from our past may have suitable reasons to return, especially if they are given such relevant and relatable new context as is done in this film. How can the fears of our past influence our fears in the present? That is the question that should be on every "Dark Universe" filmmakers mind as they move forward with their re-imaginings. Maybe we'll find The Mummy's failure to have been a blessing in disguise? Sure The Wolfman fighting The Mummy sounds exciting, but perhaps it is the origins of the beasts that will prove to be the true crowd-pleasers in the years to come.


2. The Tomorrow Man (2019)


While some have found comfort in some form by watching pandemic-related media like Contagion (2011), Outbreak (1995) or even 28 Days Later (2002) I prefer the escapism of literally any other genre of film available to me. While browsing for something to watch on Hulu yesterday evening, my parents and I came across The Tomorrow Man (2019). Starring two of our favorite seasoned actors, John Lithgow and Blythe "She Never Works Enough" Danner, this cute late in life romantic drama seemed like an ideal choice. What we got was indeed a love story, but it is wrapped in cellophane comprised of vaguely explained paranoia and trauma. These characters are having problems not in finding love, but in finding themselves again amidst the rubble of their fractured lives. Lithgow overcomes his divorce by focusing on prepping for the End of Days while Danner is still reeling over the death of her daughter over a decade prior by hoarding. Neither of their psychological psyches is mined too much depth by writer and director Noble Jones, who has a difficult time developing each of them as individual characters as he develops their romantic entanglement in one another's complicated lives. Danner and Lithgow shine in their roles despite the problematic material they are presented with and show undeniable chemistry with one another throughout the film. When all else fails, their commitment to adorable quickness keeps the audience engaged. The running time is too short, at just an hour and thirty-five minutes, that it is no wonder the viewer can't help but feel cheated in some way by what can and should be a more emotionally resonating love story/character study. The ending is a surprise but would be all the more satisfying if the build-up to it had been more enthralling and competent. We still don't know these two people well enough before we find them face to face with a reality they had come to believe was a bad thought that needed to be shaken away. No doubt that is what so many of us thought of the COVID-19 virus in the past couple of weeks before the petri dish hit the fan. In that way, my parents and I related to Lithgow's skewed POV in a sympathetic light. Better to be prepared for the outrageous, because we now know the outrageous to be a tangible reality. Danner's character perspective ultimately resonated with me more, however, and it is a crucial scene in a hospital room where she essentially spells out the film's timely moral: stop living for tomorrow and start living for today. That is certainly a lesson people should be heading all over the world right now, and it is for that reason that I would recommend The Tomorrow Man to other film-watchers, along with the enjoyable performances put on by its two reliable leads. An imperfect film yes, but these are imperfect times we are living in and something about that makes this a match made in quarantine.


3. Portrait of a Lady On Fire (2019)


Perhaps one of the most challenging things to depict on film is authentic, genuine tenderness between two people. Even in modern on-screen romances we often find our senses assaulted by oversaturated and manipulative film scores or distracting side-characters as we attempt to sit back, and engulf ourselves into a love story that we believe in and earnestly root for. Portrait of a Lady on Fire (2019) does away with two of these issues almost instantaneously. The film forgoes a musical score, though you'll be so enraptured in the story you'll likely not realize it and make one up in your head. It also situates its characters on an isolated island in a grand estate with only a single servant. The character of Sophie is far from a distraction; however, as it is through her own journey that the two lead characters, Marianne and Héloïse, form an even stronger bond with one another. Sophie's abortion scene could easily be misinterpreted as having a pro-life thematic undertone, as she lies across a bed beside a baby as is being treated. I, however, believe that as Sophie looks at the cooing baby beside her, she is relieved and comforted, because she knows she has made the right decision for herself and the potential life inside her. One could argue that witnessing this self-love, encourages Marianne and Héloïse to pursue each other even more fervently. They come to realize that life is too short not to give yourself some semblance of what you've earned through loneliness and conformity. The film presents the love story ample time to develop and grow. It never caters to any potentially lustful desires of its viewing audience once the two women consummate the relationship. Theirs is real tenderness because it is so clearly theirs to enjoy and explore, not ours. We are fortunate to be privy enough to their mutual courting of one another, for it is most certainly that, a mutual courting. So many love stories, be they heterosexual or otherwise, almost always have one character be the figurative hunter, and the other their figurative prey. Women are almost always relegated to the role of prey, an object of desire to be obtained. Marianne and Héloïse handle things quite differently than the norm, not just for the period in which the film is set, but even by modern standards. They pursue one another covertly, but not narcissistically. They see what each other is lacking in life and wish to fill in these painfully empty voids for however short of a time they may have together. They look to each other not just for love, but for knowledge as well. Héloïse learns how to paint and appreciate art. Marianne learns what is like to commit to another human being so intimately, beyond a canvass. Though they are considerate of their own needs as mentioned, they are even more interested in what they each hold in their minds as well as hearts. It is difficult to recall the last time a film created a romantic bond out of such mutual respect, even when set during a time-period of stringent hierarchies and formal protocols. American filmmakers can learn so much from Céline Sciamma masterful depiction of forbidden love, just as her equally great film Tomboy (2012) gave a stunning blueprint on how to handle gender identity issues in cinema. Portrait of a Lady on Fire is not an exquisitely portrayed lesbian love story. It is an exquisite love story, period. Its strength lies in its subtly, its unbridled commitment to emotional complexity, and the undeniable solidarity found between its three female leads. It is a film not to watch, but to experience. That is how you know it expresses genuine tenderness because it makes you want to do the same in return. In this time where we are lamenting over temporarily forced isolation, we should also take the time to consider those who are isolated in less literal ways every single day of their lives. For them, there is no one-shot vaccine on the horizon, but at least with this film, they can find comfort in the knowledge that others see them and respect their plight.