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. 

Pandemic Picks

I apologize that it is has been a while since my last posting. I'm not sure if any of you have heard, but the world has come down with a very nasty case of the flu. During this time of considerable uncertainty, fear and anxiety aplenty so many of us turn to televisions as a means of escape as well as information. Since it is unclear at the present time just how long society will be on "pause", many of my future posts will likely be clustered such as this one, with my critiques on pieces of film and television that I have watched or am watching during this indefinite downtime. Here are three from the last few weeks.

Frozen 2

A few weeks ago my friend Kelly and I decided to put our Disney+ subscriptions to good use and had a Disney Movie Marathon. We specifically chose to watch some of the delightful (I use that word delicately) direct-to-video sequels that Disney became known for throughout the late 90s and early 2000s. The main concept behind the creation of these sequels was to capitalize on the mass success Disney was having and had in the past at the movie theatre, but instead of the payday coming from the box office, it came from VHS sales. These sequels typically took a deep dive in terms of quality. The same voice cast didn't always return nor did the same members of the creative team resulting in distinct differences that were hard to go unnoticed. When John Lasseter became CEO of Disney Animation Studios, he put a halt on these discount bin sequels in favor of focusing on more original content and durable IP. Frozen 2 (2019) should go down in history as the first truly successful, theatrically-released sequel featuring Disney Princesses. Everything the direct-to-video sequels get wrong, Frozen 2 ensures ten times over that it gets right. Not only does the same creative team and voice cast return, but their passion and respect for the material return with them. The music in the sequel plays a more intricate role in articulating the complex thematic material that the characters are dealing with in the plot than in the first film. Themes of self-identity, grief and loss, mortality and personal responsibility are all explored at various points through lyrical content and dialogue, alongside the ever-impressive visuals the animation team has conjured up for this second snowy adventure. The film feels relevant and topical in its exploration of how we should treat the "others" in our life, though some will question if this moral statement is heavy-handed or not. In my opinion, the film effectively states that in one way or another, we are all an "other" to someone else in the world. Elsa's character remains single and sexually ambiguous, and the sequel reinforces the notion that her story does not need a love interest to stay potent and interesting. Disney sequels have a habit of miss-using side characters in sequels (see Mushu in Mulan 2 (2004)), but Olaf's character arc in this film is even more heartening and relatable than the first. The sequel is less self-referential than its predecessor about the tropes that it breaks, but there are a select few lines of commentary made by Olaf that highlight how the Frozen films are working against type. For example, the lovable snowman's statement about Anna being unusually blind to Hans's shadiness in the first film. While some of it feels like familiar territory, such as Kristoff's nervousness over his impending proposal to Anna or Olaf's unsurprising resurrection in the climax, it is the sheer likability of the characters and the precision in which their meaningful journeys are crafted that allow these minor narrative transgressions to be forgivable. We want to see Anna, Elsa and company again because we enjoy watching them grow and evolve into new people as we are doing in our own lives. The Toy Story franchise understood this as well. No one remains the same forever. We are all changing and evolving as we enter into the unknown void that is our futures. See what I did there. Isolation has made me funnier.

Okay, maybe I should leave the jokes to the adorable anamorphic reindeer.

High School Musical: The Musical: The Series

What seems like it should've been a no-brainer for me to watch as soon as it debuted, took me quite some time, and a pandemic to start watching. I wasn't the hugest High School Musical (2006) fan. When the film came out, I was ten years old and still developing my hobbies, my likes and dislikes. I knew musicals attracted me, but there was a certain level of shame associated with young men who enjoyed the idea of running around and singing a show-tune, and so any attraction I had toward the film I kept to myself. I even made conscious choices to distance myself from its subsequent sequels even though by that time, the franchise was well accepted into popular culture by both young men and women. I was jaded by this point in a way, having developed passions for more thematically weighty musical films like Rent (2005) and Hairspray (2007). There wasn't room for East High Wildcats in my heart, too little too late. Still, Efron, Hudgens and co feel like staples of my childhood by their mere frequent presence on TV, radio, merchandise etc. Having been such a devout Gleek for so many years, it felt wrong to not give a musical show a chance. In may ways High School Musical: The Musical: The Series (its exhausting to type, let alone, say) owes a great deal to the Ryan Murphy, Brad Falchuk and Ian Brennan hit show. Had it not paved the way for musicals on television, many would have laughed at the absurdity of attempting a project on Disney+, regardless of the popularity of the IP that preceded it. The series borrows both triumphant elements from Glee (2009) as well as problematic qualities. Both had difficulty balancing satirical and dramatic tones, making it tricky to decipher if they were critiquing their subject matter or attempting to visually articulate a semi-realistic depiction of what it is like to practice the Performing Arts. Some characters like the cartoonish Mr Mazzara, a villainous STEM teacher who is critical of the school's focus on the Arts come off too strong and feel as though they belong on another show altogether. The show doesn't bother to clarify that two of its main characters are cousins until the second episode, and having watched the first three I am still confused as to why they've chosen a seemingly needless mockumentary-style like a junior version of The Office (2005). Most of the commentary given by the characters during their interviews is far less interesting than the actions they take and words they say when they are not acknowledging the camera. The new music is catchy, effective, and pairs well with the unforgettable tunes from the original film that we all know and love, or for many others adamantly detest. Much of the plot seems predictable, who will end up with whom by the end and why (am I really supposed to believe Nini stays with EJ?) but to be fair we didn't fall in love with the original film because it surprised us with its twists; we loved it because it was a formula we were familiar with, newly packaged in a fresh and invigorating way. This may be a bit bias, but I believe the new series is at its best when it is exploring the world of the theatrical arts than when it is merely serving us some reconstructed 21st Century 90210 (1990) dramedy fanfare. One thing Glee never did highlight well enough was how difficult the world of high school theater is to navigate when the very people that you are befriending one day are your competition the next. I hope the rest of this freshman season focuses more on the theatrical experiences of its young and vibrant cast and less on regurgitating plots and characters that have frankly been done to death at this point across multiple franchises and entertainment platforms. 

I also believe than when social-distancing is over we should all perform "We're All in This Together" out in the streets together as one unified, Zac Efron-adoring society.

Uncut Gems

This is not Adam Sandler's first venture into dramatic work. The critically and commercially divided Reign Over Me (2007) highlighted Sandler's capacity to evoke an emotional reaction out of an audience that was something other than laughter. Much of his performance in Uncut Gems (2019) is different than his past efforts in the drama genre. His performance is more operatic than anything else, and the film rises and falls on his ability to keep us engaged in his character's debauchery. The film pushes us into this character's chaotic world with a jolt. We don't get much explained to us. Instead, we must carefully watch Howard and his interactions with those around him in his life in order to understand how he operates. However, the film's plot isn't very interested in exploring why Howard is the way that he is. His compulsive lying and gambling is simply a character trait without origin it would seem. The rest of the performers around him play their parts well, but it is Howard's hyperactive persona that continuously draws the audience's eyes. Idina Menzel has little to do as a Bravo Housewife knock-off, but she does illustrate some seismic chemistry with Sandler in key scenes. The dialogue is very naturalistic and un-stylized with character's speaking in a way you'd expect them to if these were real-life situations, messy and fragmented. The dialogue isn't there to service the viewer's understanding of the story in a spoon-feeding kind of manner, and rather it is utilized to more strongly depict the world of these characters and how they choose to best navigate through verbal jousting of several varieties. Julia Fox, who plays Howard's employee and girlfriend does an exceptionally fine job of using her dialogue to create a believable character, aggravating and still somehow sympathetic by the film's inevitable conclusion. The pacing of the film is carefully mapped out by the Safdie Brothers and yet the whole two hours and fifteen minutes feel like a whirlwind akin to Dorothy in the tornado on her way to Oz. Howard never has a true moment of stability during the film's entire runtime, and because of that, neither does the viewer That helps highlight the consistent and endless uncertainty that comes with living the life of a gambler. Ultimately Uncut Gems is a film worth taking a gamble on, if only out of sheer appreciation for the inventiveness of the Safdie Brothers and the enthusiasm with which Adam Sandler attacks his latest cinematic role after several years of ho-hum performances in less than stunning comedies.

I wish you all good health and safety during this frightening time. Stay strong, social distance and of course wash your hands to your favorite 40-seconds of literally any given song in the history of music. When you need a mental cleansing, turn to your televisions and enter a world beyond this one.  A world where at the very least you have the control to pause, fast-forward and rewind to your heart's content. You are not in control of this situation, but you are in control of how you can survive it alongside those you love and care about—all my love and good energies your way, happy streaming.