Top Ten Disney Channel Original Halloween Movies

10. Twitches Too (2007) 

The second and final film (as of October 2020) of the Twitches Television Universe is meager offerings in both chills and chuckles. It's not as funny as the predecessor nor as magical, which is ironic since more magic is likely performed in this film than the first. Alas, quantity is not equative to quality. The movie finds reunited sisters, Cameron and Alex battling once again against The Darkness to save their kingdom from its all-consuming ho-hum CGI terror. The stakes are raised slightly by the added factor that their father may, in fact, be alive. While the Mowery twins still display incredible chemistry with Tamera showing particular prowess in physical comedy, the recasting of the character of Ileana for whatever reason it was done negatively impacts what was one of the first film's most workable comedic elements and pair of side characters. When it comes down to it, Coventry is a rather boring fictitious land that hardly feels worth saving. The more we see of it, the blander it feels, and so our entire investment lies solely in the survival and triumph of our leads, but the goals they are after aren't as investable to us. The film also follows the tired pattern of introducing unnecessary love interests for each of the sisters. While not the worst or the best, Twitches Too just feels like an altogether missed opportunity to expand on what was a promising idea in the first film. It spends more time hashing out cliches than giving us something truly magical to twitch onto. The magic of the Mowery sisters may not be enough to save it, but we certainly appreciate their efforts in trying. 

9. Halloweentown High (2004) 

An indication that the series was headed into a different kind of territory one that became more aligned with the values and content expectations from the popular children's television channel today, Halloweentown High is neither a hit nor miss, but a respectable toss at the dartboard of children's entertainment. Marnie in the film is a high-schooler, older, wiser and yet still as free-spirited as ever. Vying for better opportunities for civility between the two different realms, Marnie comes up with the idea to host a group of Halloweentown students to come and spend some time in the Mortal World. The rest of the film involves a clash of cultures between the humans and Halloweentown adolescents who are forced to come together and stop a group of ancient knights from wreaking havoc on both worlds. The film admittedly provides the least spooks of the three films in the franchise, and no I am not acknowledging the rude abomination that is Return to Halloweentown (2006). Its primary focus is on deriving humor from the zany antics of the Halloweentown tweens as they try to get acclimated to the Mortal World. Debbie Reynolds performance is just as strong as her previous ones, and she gets to exercise some serious comedic chops as a substitute teacher at the high school. The plot fails at giving Sophie anything remotely interesting to do, reducing her to a background character status which is shameful given how integral she is to the plot of the predecessors. The same can be said for the incredibly talented, Judith Hoag, whose portrayal of Gwen begins to become inconsistent starting with this film, though that is a complete fault of the writers and not the actress herself. Halloweentown is still an enjoyable entry into the franchise, even at its worse, it is better than many of the films that Disney Channel has released since.  

8. Under Wraps (1997) 

Though often cited as the first Disney Channel Original Movie, this film is admittedly the one I am least familiar with on the list. I watched it maybe once or twice growing up and was, fortunately, able to access it on VOD as a refresher since it is curiously not available on Disney+. The film tells the tale of three pre-teens accidentally awakening and ultimately befriending an ancient mummy from a sarcophagus found in a recently deceased neighbor's basement. Under Wraps isn't as creepy or clever as its successors. Much of its charm derives from the comical camaraderie between its three young leads as they wrangle the muttering mummy and try to keep him in line. The movie suffers because it lacks the sense of distinctive atmosphere beautifully executed in other DCOM films. The Mummy is the source of humor and friendship in this, which is touching at times, but it seriously reduces the creep factor, especially when the villains turn out to be a boorish group of thugs that want to sell the mummy for money. The juxtaposition of a mummy bumbling around suburbia is very one-note, and the arc of the main protagonist is nowhere near as compelling as those of other DCOM films like Marnie, Francis or even Pete, all of whom are much more emotionally investable protagonists from other films that are featured in this list. Still, the film is delightful for what it is and did help pave the way for the more polished entries in the Disney Channel cannon to follow.

7. Twitches (2005)

This is one of the notable DCOM Halloween films that is more centered on the magic of Halloween rather than the more frightening or otherwise unsettling aspects of it. That being said, the mass of Darkness that acts as the film's main antagonist was spooky as all hell as a child. Based on a popular book series, the film stars Tia and Tamera Mowery as twin witches who were separated at birth to protect them from an evil force that wished to destroy them and their magical homeland. The twins meet as adults and after learning of their magical origins, come together to save their kingdom from destruction. The film mimics the character dynamic the sisters shared on their long-running sitcom "Sister Sister", and in fact, their characters hardly detract from their personalities established on that show. This is a shame as it deprives them of being able to explore much new acting ground, but I doubt we were complaining about character development during elementary school. Alright, maybe just me. The film is more light-hearted than it's predecessors and was a sign that Disney wanted to shift to more "family-friendly" programming. With darkness being the primary evil being fought against, the film itself is quite brightly lit and features a broad color scheme; especially it's costumes. The twins are guided by a fairly cute and funny duo, Karsh and Ileana who help advise the twins on their quest. The charm lies almost completely in the sure-fire chemistry between the two leads, who always know how to play to each other's comedic and dramatic strengths. It's a fun film, but it would have been interesting to see how Disney Channel would have handled the adaptation if they had attempted to do it during their more ambitious Golden Age a few years prior. 

6. The Scream Team (2002) 

Often forgotten, The Scream Team is almost completely devoid of any and all of the cutesy kitsch-ness that plagues even Disney Channel's most successful cinematic ventures. While it is laced with dark humor throughout, particularly about the concept of death itself as well as the merits of an afterlife, the movie is less squeamish than it's fellow contenders at making its young audience think about death and how it plays into our every day lives. It features Kat Dennings in an early role prior to her eventual fame on the big and small screen alike, as well as veteran comedic legends, Eric Idle, Tommy Davidson, and the always lovely even when shrill, Kathy Najimy as the titular team of ghosts that with the help of two grieving children hunt down a malevolent spirit that is inhibiting innocent souls from passing on, including the children's recently deceased grandfather. It wasn't until recently that I discovered the film was meant to be a backdoor pilot of sorts for a spin-off television series. It is difficult to picture performers like Najimy or Idle committing to such a project, which never came to fruition anyway. The film is still a treat to watch with its appropriately dreary set design that aligns well with the general dark comedy tone of the script, a verifiably scary villain and a lack of patronage that marks even the very best outings in the DCOM cinematic arena.  

5. Phantom of the Megaplex (2000) 

This film does hold a special almost bias place in my heart simply because it is itself an ode to movies as it is to Halloween itself. The script does not just focus on referencing horror films, but traditional tropes found across Hollywood Movies since the Golden Age of Cinema. In the film, Pete Riley, the assistant manager at his local movie theater is preparing for a huge film premiere event when a series of pranks lead him and others to suspect that someone wants this night to be anything but entertaining. Complications further arise when his younger brother and sister get involved and want to help figure out who the mysterious "phantom" causing all of this trouble is. The film fits comfortably into the whodunnit sub-genre of mystery. It features a touching supporting performance by the late great, Mickey Rooney, who gives an endearing monologue halfway through the film about the magic of the movies. This scene certainly carries extra weight and significance since his passing in 2014. Though it has its silly moments, particularly one involving an excessively show-offy game of gum-ball hockey as well as a blow-up display gone wild, its entertainment value is sustained throughout by the competent performances of its cast, young and old, and its ability to utilize the claustrophobia of both the movie-viewing experience as well as of the work environment at a movie theater itself to illicit effectively executed spooks and scares. During these pandemic days, it is a film that certainly makes me yearn to return to the theater, whether or not they be a Phantom there waiting for me. 

4. Mom's Got a Date with a Vampire (2000)

I am not telling you what this film is about because the title is gracious enough to do it for me. One of the classic staples of the Disney Channel Halloween film was to acknowledge and thereby make fun of some of the nonsensical tropes associated with classic monsters from film and literature. This film manages to both spoof vampires while still making them a formidable antagonist for its young leads to be tasked with vanquishing. If vampires detest garlic, then they obviously must avoid Italian food while out on a date. Though the younger cast members have mostly faded into obscurity, the adult cast is led by three impeccably casted recognizable faces to anyone who enjoys beloved 90s and early 2000s sitcoms, Caroline Rhea, Charles Shaughnessy and Robert Carradine of Lizzie McGuire fame. The young characters in this film admittedly bring little to the piece and as an adult now I realize that while I tuned in to invest in these adolescents relentless pursuit to save their mother, I stayed because it was the adults who were more interesting to watch. One wonders if Disney was attempting to appeal more to their parental base in this film. Shaughnessy brings the perfect level of snark and maliciousness to Dmitri, which allows us to be scared of him while also finding him quite absurd. Rhea contrasts perfectly with him in her bubbly, adorably-awkward performance as a divorced woman reclaiming her identity. As an adult, the film may have an added creep-factor level, as Dmitri's determination to possess Rhea's character is carnal and by association, lustful. His behavior towards her is almost Weinstein-esque in its manipulation and false-sincerity, a clear echoing of the horrors that online catfishes would bring to society a little over a decade later. Nonetheless, the film has some memorable sequences, most notably an enthralling climactic showdown at a lakeside mansion, which this suburban town conveniently has located nearby. 

3. Don't Look Under the Bed (1999) 

This film is just as unsettling now as it was when I first remembered watching it. Disney even stopped airing it for years due to complaints from parents. Its eerie mood is matched by its cinematography which even manages to make daytime sequences appear somewhat disconcerting. The film is about an overly mature 14-year-old who begins to get framed for pranks going on around her small town. She soon discovers, thanks to the help of an eccentric imaginary friend, Larry that she is being framed by the mythic "Boogeyman". The movie's thematic messages resonate even more now than they did when I was a child as its narrative focuses on the struggles and anxieties that are tied with becoming an adult and leaving childish things behind. This is especially true since it features a young character who has survived a serious illness, as I did as a small child. I've often thought about the stress and concern I must have invariably placed on the shoulders of my two older siblings by getting Tuberculosis and Meningitis before the age of two and watching the protagonist struggle with guilt over whether she did all she could to help her ailing brother gives me a unique kind of melancholy, blended with heartfelt gratitude for their love and comfort, even if I can't remember a single moment of it. Leaving childhood too early can have adverse consequences on a person's psychological maturity, maybe not to the degree that you'll start growing obscenely long fingernails and your sclera will turn purple, but still pretty serious repercussions, as the film exemplifies with impressive depth and complexity. It stands the test of time because it is one of the treasured DCOM Film's that refuses to condescend to its youthful audience and instead challenges them to consider what childhood means to them and how much of it they intend to carry over with them into adulthood. They'll always be a boogeyman to fight one way or another, but the film's thrilling and surprisingly emotional finale reminds us that we don't always need to make up allies (imaginary friends) to protect us against these frightening creatures. We can often find real, tactile support amongst us in our friends and families. The film's director, Kenneth Johnson, who also directed Zenon: Girl of the 21st Century (1999) apparently had to defend the film during pre-production against concerns over an innocent kiss that occurs at the end between two characters of different races because it could potentially offend Southern audiences. This is a good reminder that the things we should be frightened of most in our lives don't live under our beds, but amongst us as everyday people.

2. Halloweentown 2: Kalabar's Revenge (2001)

Though you'll see me regale about this film's predecessor in just a bit, the second entry in this franchise is admittedly my favorite one. Unlike other Disney Channel Original Movie sequels which tended to take on a lighter tone than the first as the network began to recalibrate its content, Halloweentown 2 is actually a much darker film. The stakes in the plot are much higher as the villain's plan appears far more likely to succeed than in the first, and the risk to the citizens of both worlds is as dire as can be. Portions of the film are literally shot using bleaker colors, which align with a dastardly spell that has been cast on Halloweentown by a mysterious adversary of Marnie's, our protagonist from the first outing who is now a teenager and formal witch-in-training. If Halloweentown is the movie, you watch before going trick-or-treating, than Halloweentown 2 is the film you watch when you've returned to the house after dark and want to sort through your sugary loot. The only thing really "wrong" with this sequel is that because of the conflict at play in the center of its plot (the gray spell over Halloweentown) which causes all the joy, color and magic of the dimension to be dulled down to mundane normalcy, we don't actually get to spend much time in the town we had come to know and love during the first film. The third film ends up making the same mistake, showing us even less of Halloweentown than the first two films. It's forgivable to some extent, especially considering it is working off a television movie runtime, and it is still a more than worthy entry in the Halloweentown mythos, giving all the characters opportunity to grow in interesting ways and still allowing for plenty of delightful magic to make its way across our television screens. Admittedly, there are feature film sequels that don't deserve to be on the same level as this early 2000s gem, especially Halloween films for that matter. 

 

1. Halloweentown (1998)  

Honestly, the hype machine works overtime come October 1st, and this film is one of its primary batteries. Halloweentown is not #1 on this list because of its namesake or even because it has the largest cult following of anything else on this list. Like all the greats, it is #1 because it deserves to be. The film is the story of a precocious adolescent girl, Marnie Piper, who along with her two younger siblings Dylan and Sophie, discovers her maternal side of the family is from an alternate dimension where it is always Halloween and every mythical and magical creature imaginable lives there. When her grandmother, the ethereal Debbie Reynolds as Aggie Cromwell comes to their house for a visit, the three kids sneak onto a magical bus and are transported to their family's native land, though they soon discover that dark forces are at work trying to take it over. It is a film that takes itself and its themes more seriously than it needed to, and for that, it has ingrained itself into the childhoods of millions with no signs of stopping over 20 years later. Halloweentown reminds us that being different isn't just okay, it's to be celebrated and championed. Being normal is indeed vastly overrated, and we come to comprehend this more and more as we grow up, which is why the film continues to resonate with Millenials long after they've grown out of trick-or-treating. It's about family, flaws and all, not the cookie-cutter Leave it to Beaver life we often see depicted on this specific channel particularly. Marnie's tense relationship with her mother is relatable because they don't fix everything by the film's end, but they fix enough to move forward in better shape than they were before. Its set design is hardly on par with anything the Russo Brothers could devise. Still, nobody could care less because images from the big Jack O'Lantern in the town square to the abandoned movie theater and even just the magically appearing bus stop all ineradicably insert themselves into your psyche and remain there for years and years. They are there, much like the film itself, to remind you that just because you grow up doesn't mean you have to lose that special spark that kept you going as a child. That gave you hope on rainy days and chilly nights. This entire year is a rainstorm of epic proportions. It certainly isn't a year that many feel like getting dressed up and festive for. If there was ever a time to need Halloweentown, it is for these times. The ones where our loved ones are there to save us, and we are there to save them. For the night when going out may be more dangerous than it'd normally be on All Hallows Eve and not because of ghouls and goblins, but something far more sinister and real, unfortunately. 

It's okay to be scared, to be sad or even angry. I'd highly recommend taking a trip to Halloweentown or into the world of any of the above-mentioned films to help guide you through the strangest Halloween some of us will ever encounter. Let these films cast a spell on you, and if you are anything like me, for however short of time, you'll believe in magic once again. At the very least you'll smile, and that is a result none of us should be taking for granted in 2020 no matter what month it is.  

Happy Halloween!

 

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!