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Lego Star Wars: Terrifying Tales – Scared Silly

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Hallowe’en has come early.

To kick off its ‘Hallowstream’ Event, Disney+ offers its latest gift in the form of Lego Star Wars: Terrifying Tales, it’s latest entry into the long-running animated franchise. Following last year’s Lego Star Wars Holiday Special, Tales continues to lean into the holiday-themed material with an episode devoted to the Dark Side and its minions.

Terrifying Tales takes place after the events of The Rise of Skywalker as Poe Dameron and BB-8 are forced to make a sudden landing on the volcanic planet of Mustafar. Standing at the base of Darth Vader’s iconic hideaway, they soon discover that Graballa the Hutt has bought the castle so that he can repurpose it into a luxury hotel. While they wait for their ship to be repaired, they are intrigued by the mysterious Vanee (Tony Hale). Once working as Vader’s loyal servant, Vanee spins three eerie tales that are linked to the past and leads them deep within the castle’s walls. As his sinister plan is revealed, Poe, BB-8 and young mechanic Dean must face their fears and defeat an ancient evil from taking hold once again.

Taking a page from Marvel’s What If…? series, Terrifying Tales spins its own web of Jedi stories that may (or may not) have happened amidst the Star Wars canon. True to other Lego Star Wars animated fare, the series pops with silliness and fun, even as the proverbial ‘terrifying tales’ themselves focus on the more villainous characters in the universe. Just like it’s Marvel cousin, the show frees up its storytellers to tell stories without the burden of overarching storylines and continuity. As a result, there’s a gleeful freedom within this particular episode that sets it apart from other entries into the Lego franchise. (I mean, how much fun is it to see the story of impetuous farmboy Luke joining the Empire so he can live his dream as a great pilot?)

Concerned parents may find it important to know that these ‘terrifying tales’ hardly live up to their name. Although there are a few minutes of shadows and spookiness, ‘terrifying’ is hardly the word to describe these lighthearted adventures. (Although, it’s worth noting that these particular animators clearly love The Shining as it influences some of the better jokes within the episode.)

Since it’s leaning into the Dark Side of its stories, the show puts a heavy emphasis on stories about fear and power. (Again, lightly and playfully, of course.) However, Disney does admittedly surprise here by taking the opportunity to talk about the nature of courage as well. As Dean is exposed to Vanee’s ‘terrifying tales’ of the past, so too is he tempted to fall into their fear. Even so, Poe uses the moment to speak into Dean’s life.  Acknowledging his own fear, the pilot let’s Dean know that everyone experiences it but what matters most is what you do with that fear. To him, fear can be overcome when you lean into it and believe that you are stronger than it says. (“Without fear, you can’t have courage,” Poe says.) In this way, Terrifying Tales does a good job of helping kids recognize that fear is a normal part of their experience and empowering them when it strikes.

Goofy and entertaining, Lego Star Wars: Terrifying Tales is a suitable addition to the Lego Star Wars universe. Featuring fun side stories about some of the franchises favourite villains (Kylo Ren origin!), the episode is lighthearted enough to kickstart a month of Hallowe’en specials and spooks. But the best part is the fact that Disney doesn’t leave its kids wallowing in fear but shows them the path to courage along the way.

Lego Star Wars: Terrifying Tales is available on Disney+ on Friday, October 1st, 2021.

Star Wars Visions: A Whole New World

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As a Star Wars fan, I’ve grown accustomed to a certain style of storytelling. Not necessarily because I wanted to… but because I knew that that was just how things were going to be.

Disney bought Star Wars and they had a formula that they wanted to maintain.

This was most evident when Disney first purchased Lucasfilm back in 2014. While the excitement was high for fans about the return of the franchise, the fallout was swift. With the House of Mouse’s desire to control its properties, any books, video games, and comics that were released under the Star Wars label (other than the six films) were no longer considered ‘canon’ and disappeared. (Sigh. Where did you go Dark Forces?) With a single blast from their proverbial Death Star, Disney vaporized such beloved characters as Mara Jade, Grand Admiral Thrawn and more from the Star Wars universe. While some of those characters have been reintroduced over the years, fans were left angered as their favourite tales were deemed unworthy of the next generation of stories. Admittedly, there’s certainly an argument for this decision (after all, Disney couldn’t possible may all these conflicting stories work within their continuity). However, it also limited the space for any real originality to the universe.

Then, along came Star Wars: Visions.

Now available on Disney+, Star Wars: Visions is a 9-episode series of shorts produced by six different Japanese animation studios. Directed in differing styles of anime by different directors, each episode feels like a completely new and exciting interpretation of the galaxy far, far away. 

What’s most impressive though is that, with the release of these shorts, Disney has injected a breath of fresh bacta into the Star Wars tank. Unhampered by the burden of ‘canon’, these visions rely on something much more important: creativity. Like a bolt of lightning, these simple stories have energized a world which had become a little stale. (Aside from Baby Yoda, of course.) For once, Disney allowed their storytellers to develop their own… well… vision for their closely guarded universe, create unique characters and styles that showcase the talents of their artists. Though it’s safe to say that there were certain boundaries given, every short differs wildly from one another and challenges our assumptions about the Star Wars universe. 

A samurai protects a small village from a Sith Lord.

A band of youth embark on a dangerous mission to rescue their friend from Jabba the Hutt.

Two twin siblings battle to redeem (or recruit) the other.

Each individual narrative is fully enclosed with no reliance on the other episodes. That gives each storyteller the freedom to simply dip their toe into the sands of Tatooine without being burdened by larger narratives or story arcs. Most importantly though, they allow the animators to tell their stories in their own voice in their own way. From Solo to Rogue One, there are multiple stories in recent years that site Disney’s penchant to control their IP and has resulted in the firing of numerous directors. However, with Visions, the House of Mouse has turned off the targeting computer and let their animators have the freedom that they need.

And the results are stunning. 

Featuring some truly eye-popping animation, it is refreshing to see the universe stretched with its interpretations. From their use of colour and style to their philosophical conversations, every individual episode feels like a masterclass in anime storytelling. (In addition, the voice cast features some impressive talent as well, including Shang Chi‘s Simu Liu, Henry Golding, George Takei, Alison Brie, Joseph Gordon-Levitt and, of course, Tamuera Morrison returning as Boba Fett.)

In this way, although not quite the restoration of what was lost, these new visions of the Star Wars universe feel like Disney has given a gift to the fans. 

And not just the animators either.

Star Wars: Visions feels like a long overdue gift to those who have been clamouring to hear their own voice represented in the Star Wars universe. Frankly, this begs the question of what could be next? Could there be Star Wars stories told from an African perspective? Indian? Middle-Eastern? The possibilities are endless… and every one of them has the potential to bridge the cultural gap in storytelling as well. No, Visions hasn’t changed the game—but it has provided an opportunity for the world to share in a property that had previously only been told from one perspective.

So, maybe something old really can be new again.

Star Wars: Visions is available on Disney+ on Wednesday, September 22nd, 2021

Only Murders in the Building: Killer Fun While Embracing the Mess

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From podcasts to true crime stories, the mystery genre has never been hotter and, thankfully, the sheer joy within Only Murders in the Building keeps that trend alive and well. Tightly written and executed, the series pops with fun amidst the murderous mayhem. As unlikely sleuths, Martin, Short and Gomez are simply delightful together onscreen. Backed by some wonderfully fun supporting cast like Tina Fey, Nathan Lane, Amy Ryan and a dog-hating Sting, the three sleuths bound around the hotel looking for clues to the murder of the mysterious Tim Kono with a youthful energy and enthusiasm in their performances that we haven’t seen in a very long time. 

Set in a restless condo in New York City, Only Murders in the Building follows three strangers whose lives are turned upside down after a young man they know as Tim Kono is suddenly killed. Labelled a suicide by the police, the ruling doesn’t sit well with wannabe sleuths Mable (Selina Gomez), Charles (Steve Martin) and Oliver (Martin Short) who immediately set out to uncover the truth about Tim Kono’s demise. Although they know nothing about each other, their love of true crime podcasts and mystery fuels their passion for the case. However, the greatest lies may in fact be the ones that they tell each other as they keep their own secrets hidden on their quest for the truth.

Despite the age gap between the leads, the team may be unlikely but never seems out of place together. Having found a bit of a career boost in recent years, Short and Martin have worked together for so long that their banter stems out of their very real friendship but even they seem rejuvenated here. In addition, while she may seem like an odd choice at first, Gomez is a suitable addition to the team and she bridges the generation gap, making the series more accessible to younger viewers. 

As with all stories of this nature, Only Murders deals with the impact that the secrets and lies we keep have upon our daily lives. What may set it apart however is its interest in ‘embracing our mess’, rather than simply hide from it. Without giving any spoilers, for Mable, Charles and Oliver the appearance of success and happiness have become just as much of a priority as actually experiencing it for themselves. In each case, these broken souls seem to have everything together on the outside, even as they waste away within. Oliver refuses to let go of his apartment, despite his own financial setbacks. Charles happily reminds people of his career long ago as television detective Brazzos. Mable lives in luxury but keeps her emotional traumas close to her vest. To them, anonymity is power and image is everything.

As they hide their stories from one another, they play a sort of emotional poker with one another (and themselves). However, as their shadows begin to emerge, they become forced to accept the dark corners of their lives that they despise most. (“Embrace the mess. That’s where the best stuff happens,” they’re told.) For Oliver, Mable and Charlie, embracing the mess means being willing to address their brokenness and acknowledge it as a part of who they are. While this is never an easy task, the three characters begin to experience a personal wholeness that has eluded them for some time as they open themselves up to the flaws in their journey. Their stories are as intricate as that of Tim Kono and just as important to reconcile.

Lively and hilarious, Only Murders in the Building has all the makings of a hit. Led by its eager cast and anchored by a solid script, the series is easily one of the most fun surprises of the summer and well worth investigating. Like the podcasts that the characters adore, these Murders are killer fun and should keep people tuning in. 

The first 3 episodes of Only Murders in the Building are available on Hulu and Disney+ on Tuesday, August 31st, 2021, with new episodes weekly.

What If…?: Hitting the Reset Button

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I try to stay away from spoilers, but just in case, SPOILERS ARE POSSIBLE for the first three episodes.

I have to admit it, but sometimes the MCU exhausts me. Now don’t get me wrong. I love it, especially over the past few years as I’ve gotten more involved in the screening and reviewing and podcasting side of things. 

But the analysis? As the young kids say, “sheeeeeesh.” Trying to keep up with all the hidden meanings, easter eggs, comic references, and above all, trying to predict everything that is and was and ever will happen is absolutely a full time job. And sometimes, I really just want to watch something new that I don’t have to try and analyze.

Enter What If…?, the newest Marvel series airing on Disney+. I went into the first three episodes feeling absolutely free because I figured “hey, who knows where this will go.” And personally, I was totally right. It did everything I hoped it would. It connected me with the characters I loved, it stayed true to the heart of the storylines while simultaneously flipping the script on old expectations. The animation kept it youthful and energetic and before I knew it, and it’s absolutely a great tie in to all the impact that Loki has made on all the timelines everywhere in the multiverse.

Episode one takes us back to the original Avenger – Captain America – and marks the moment of Peggy Carter’s (Hayley Atwell) choice to stay in the room. From there, the entire trajectory of both her and Steve Rogers’s stories changes. Forced to make a split-second decision to save the Super Soldier mission, Carter takes Steve’s place and receives the serum. Fighting the same battle but with a new role, Agent Carter faces an even greater uphill battle as she rebrands herself “Captain Carter.” Not only facing the typical gender stereotype of being a woman in a ‘man’s role’, she also finds herself facing a monster we have yet to truly see – and the result will reverberate across other timelines.

Episode two takes two of my favorite stories: Guardians of the Galaxy and Black Panther and gives us a galaxy in which the enigmatic T’Challa is able to persuade even the most deadly of villains (ahem, Thanos) to work towards a more peaceful universe. Oh how wonderful it was to see Chadwick Boseman’s iconic work as Black Panther on screen once more. He 100% embodies T’Challa, and there will never be another one like him. That compelling portrayal gives life throughout this episode as T’Challa wrestles with what it means to serve both his people and the universe. 

Episode three really pulls no punches when showing us what could happen if the Avengers were never the Avengers. Instead of joining together, they are targeted one by one, and Fury (Samuel L. Jackson) is left facing a vengeful Loki (Tom Hiddleston really is in his element these days) threatening to destroy the world. But he’s not out for domination… at least, not initially. Instead, they must work together to catch a far more elusive foe, but as we all know about Loki, he’s always got something up his sleeve. 

See? No analysis. No guessing games. No frantic fan theories. At least not from me. What If…? is the kind of series that is free to reset expectations and do something out of the box. In a word, it’s fun. Pure, good, fun. And I’m here for it. 

Catch it now on Disney+, and enjoy! We can all analyze later 🙂

Jungle Cruise: Watch Your Step

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“Over there are the remains of my last crew. You can tell they had a good time–look; they are still smiling!  Those smiles are just plastered right on their faces.”

One of the more unique rides at Disney World and Disneyland involves a boat cruise. No, I’m not talking about the Liberty Belle that circles Tom Sawyer Island. Instead, the Jungle Cruise is a fast-paced tour of a tropical river, complete with waterfalls, headhunters, hippos, and a wise-cracking tour guide with a penchant for perfectly horrible puns. The ride is fun, but is the newest film from Disney (of the same name) just as enjoyable?

Jungle Cruise certainly has its moments but leaves too much of the ride’s fun out at the expense of a journey that feels forced in the second half of the film. Nevertheless, there are some good reminders of heroism, trust, and sacrifice we all would be better off talking a look at.

Since I’ve already provided most of the film’s plot, it might be wise to introduce the main cadre of characters. MacGregor and Lily Houghton (Jack Whitehall and Emily Blunt) are a brother/sister pair who live in England during WWI and are trying to seek funding for an expedition to the Amazon. Their goal is to find the Tree of the Moon and recover some petals from it for healing. (Seriously, haven’t we seen and heard this plot device before?) He shares the proposal; she uses her expert cunning to acquire an arrowhead meant for Prince Joachim (Jesse Plemons) that may prove to be useful. She also knows how to pick locks, and it opens a lot of doors for her.

Upon their arrival at Porto Velho in Brazil, they meet Frank (Dwayne Johnson), a wisecracking tour guide who, well, cracks constant jokes and seems to have the entire jungle working to make his rapid-fire puns work to the delight (and disdain) of tourists. He needs funds to keep his boat going or Nilo (Paul Giamatti) will take it.

Enter Lily and MacGregor. She’s an adverturer; he’s like Princess Vespa in Spaceballs, complete with tons of luggage. Frank soon learns he’s met his match in Lily (other than the fact that she’s deathly afraid of water). The journey leads to numerous confrontations with said headhunters and Prince Joachim, who makes the journey to the Amazon in a submarine (too bad it went under).

Once Frank and crew nearly go over a waterfall, the story switches from fun-loving and joking to high-stakes adventure. To accomplish this Herculean task, Frank reveals some unique aspects about himself. Lily has to get over her fear of water (and receives a few kisses from Frank in an odd manner). The tree appears, but not before Prince Joachim shows up (along with various forms of Aguirre [Edgar Ramirez]–some of which are rather creepy). The tree blooms. You can probably guess what happens next.

Does the embellishment of a 20-minute ride into a 2-hour film work? I think that if the jokes were kept at a steady stream and the adventure was more unique, it would be quite good. Jungle Cruise is not a bad film, but certain things caused my mind to wander from the plot. For example, the Disney opening has a Metallica song playing underneath it. There’s a reason for it, but I’m not sure “Nothing Else Matters” quite fits. In addition, there’s a strange mishmash of films ranging from the Indiana Jones series, The Mummy, the Lord of the Rings trilogy, and even Beauty and the Beast (note the color of the tree petals and how the conflict is resolved in the end). It’s wacky and unrealistic, but there’s some fun—enough to justify the film’s run time of two hours.

Director Jaume Collet-Serra found two fantastic leads in Johnson and Blunt, and their chemistry is evident from the moment they lay eyes on each other. Whitehall is on the screen a good amount as well but comes off as wooden and uninspired. Prince Joachim is laughable for the wrong reasons. Outside of that, the main character of the film is the CGI. The river sequences are absolutely gorges in some places, a bit wonky in others (the waterfall sequence), and creepy when Aguirre shows up (hope you like snakes—they have a bit of a hissy fit).

I think it’s important to note that there are a number of specific themes that can be detected in Jungle Cruise—heroism, trust, and sacrifice being three of them. Another, more subtle, aspect to the film comes in the form of standing alongside those one cares about and loves. Although MacGregor and Lily are brother/sister, there’s a telling line about halfway through the movie. When Frank asks MacGregor why he is so close to Lily, he replies that she “stood by me, and for that, I would’ve followed her into a volcano.” It does have a Samwise Gamgee/Frodo feel to it, but that’s one aspect of true friendship.

The writer John Donne noted in Meditation 17 that “No man is an island, entire of itself.” (You can also translate that as “toucan do better than one can.”) It has been difficult for many people during the worldwide pandemic when physical distancing has been the norm. To that end, many have resorted to life in front of a computer, using programs like Zoom, Google Meet, or Microsoft Teams to create virtual community. Over time, however, the sense of unity has drifted further and further away from view, bringing some to a breaking point. My prayer is that we would take the time to communicate intentionally to those we love (even bringing back what worked a generation ago—a simple phone call) and growing those relationships. At some point in the near future, we will be able to stand by those people in real time, reminding them that friends are there in times of need (see Proverbs 18:24).

Until then, we can agree that puns are good things, the Rock and Emily Blunt need to be in more films together, and it’s okay to be there for those dear to us. If it takes Jungle Cruise to remind us, that’s perfectly fine.

Also remember that, if you feel your feet getting wet as you leave the boat, you’ve probably gone out the wrong side.

Jungle Cruise can be streamed on Disney+ or viewed at your local theater (depending on area).

Teenfish #14 ~ BLACK WIDOW!

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Welcome to Teenfish, a podcast series that lets teenagers and young adults speak about media that matters to them in their own voice. Hosted by Daniel Collins, Teenfish airs every month and invites local youth to engage the truth and lies of the shows and films that excite them.

Marvel Studio’s latest masterpiece, BLACK WIDOW, is a phenomenal solo movie about Natasha Romanoff, “a total poser”, aka Black Widow, as she confronts the darker parts of her ledger when a dangerous conspiracy with ties to her past arises. Pursued by a force that will stop at nothing to bring her down, Natasha must deal with her history as a spy, and the broken relationships left in her wake long before she became an Avenger. This month, Daniel is joined by Cat, Riley, and Jacob to discuss sexism, family, human trafficking, and some great acting!

You can also stream the episode above on Podomatic, Alexa (via Stitcher), or Spotify! Or, you can download the ep on Apple Podcasts or Google Play!

7.24 Resurrecting BLACK WIDOW

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With the release of Marvel’s BLACK WIDOW, one of the original Avengers finally gets to tell her own story. On the run from the military, Natasha Romanoff (Scarlett Johansson) is suddenly drawn back into there old life in order to wrestle with the darkness of her past. This week, the Marvel-ous team of Heather Johnson, Miriam Ibrahim and Dina Hamdieh reassemble to talk about the importance of diversity in our superhero stories, the toxicity of abuse and the relevance of hair.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.24 Black WidowDownload

7.23 Living la Vida LUCA

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Set against the Italian Riviera, Pixar’s LUCA tells the story of a young merman as he steps into the surface world for the first time. With his friend Alberto, young Luca experiences a whole new world of adventure, pasta and endless Vespa rides. However, when the world discovers that sea monsters exist, so to does the pressure for the boys to remain hidden, out of fear for their lives. This week, ScreenFish’rs Heather Johnson and Alan Sharrer return to talk about Disney’s tendency to play it safe and the relationship between fear and knowledge.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.23 LucaDownload

Black Widow: Good Hair is a Game Changer

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Do I even have to put a SPOILER WARNING here? Because we will be talking about Black Widow, so…yeah…potential spoilers.

I have short hair. Most days I can leave it down and it doesn’t cause any distractions or issues with my day-to-day activities. But, if I’m going to be doing things like cleaning or travelling, I’m going to somehow put it back out of my face and out of the way. The last thing I want to worry about when I’m active is my hair.

Can you imagine fighting to take down the universe’s most terrifying and powerful villains with your hair in your face? Because pretty much until Endgame and this movie, our mightiest female heroes have worn their hair down. And if you’re wondering why I care about this so much, let me explain. But first, a brief summary of where we are now that Black Widow has released.

Eleven years after her first appearance in Iron Man 2, Natasha Romanoff (Scarlett Johansson) is finally getting her story. Set between the events of Captain America: Civil War and Avengers: Infinity War, Black Widow shines the light on the shadows that have been Natasha’s elusive past. We’ve gotten some brief glimpses into her Russian training and connections and we’ve seen hints to the emotional burdens she wears. Since we can’t go back to the very beginning of her story, I wasn’t sure how we were going to see the path between who Natasha was, and who Natasha now is to us.

As she begins her time on the run after breaking the Sokovian Accords, Natasha is pulled back into a mission she long-believed was handled. She describes Budapest (an event she and Hawkeye (Jeremy Renner) recall during the first Avengers), as the final step to her defection to S.H.I.E.L.D., effectively finalizing the cleansing of the “red in her ledger.” But she was wrong. A mysterious package arrives at her safe house with a clue about who needs her and she has to seek out the very people she once felt betrayed by.

In the later movies, Natasha thinks of the Avengers as her only family. But we quickly learn here that she once had a sister, a mother, and a father. Even though it was artificially made as a cover for a covert Russian operation, there were a few years where Natasha had a normal life. But it was not to last.

Her “father” was actually Alexei Shostakov (David Harbour) aka Red Guardian aka Russian Captain America. He and brilliant scientist and fellow Widow (and “Mom”)  Melina (Rachel Weisz) had Natasha and “sister” Yelena (Florence Pugh) under their wing until the time came for the girls to begin their training at the Red Room. Together they must work to finish the mission Natasha started all those years ago.

The target? One of the creepiest villains I’ve seen in the MCU yet, Dreykov (Ray Winstone makes him almost TOO real). Mastermind behind the Red Room – an elite training facility that transforms orphan girls into world-wide assassins that work to keep Dreykov in power over the world’s most influential leaders – Dreykov has perfected a mind-control serum with Melina’s genius that ensures his Widows will deliver on his every command. He exploits both their vulnerability and sexuality and rewrites their reality – until Yelena defects and Natasha jumps in to free the Widows from Dreykov and destroy the Red Room for good.

How does any of this lead into a conversation about hair. Well, let’s think about it. For one, Black Widow’s hair has been a topic of conversation since Johansson brought her to life on the big screen. People complained it was too short, it was too long, it was too curly, it was too straight, it went blonde, etc. Here we have someone who regularly takes out pretty scary and powerful enemies, and we are talking about if her hair is right to the character. Dude – I just always wanted to know why it was down? In Endgame, we finally see her hair up for most of the movie, maybe because in space it’s more acceptable? Or because the scene had been set for years’ worth of searching for ways to undo all that Thanos had destroyed, and suddenly it didn’t matter? For whatever reason, I was thrilled to see exceptionally powerful women go into full battle mode with their hair up in Black Widow.

The contrast between Yelena wearing her hair up from the beginning but Natasha evidently having had to take a journey for it to be acceptable to wear her hair up is hopefully a glimpse into the future treatment of female super heroes in the MCU. Yelena has the same sarcastic wit of Captain Marvel, the same desire for what was fake to be real as Wanda, and the same moral compass of Gamora’s change of heart. She is set up to take on the mantle of Natasha and she’s not here to play games. And as silly as it’s going to seem to people, seeing her with her hair up throughout the film gives me confidence that female superheroes are being equipped to fight the same battles as their male counterparts. In continuation of illustrating this point, I give you the original Avengers:

  1. Captain America. Helmet. I don’t know how effective it is but it’s there. And he’s enhanced.
  2. Iron Man. Obviously. And he’s enhanced.
  3. Thor. Yes his hair is down but he can also fly and call lightning to his very hands. And he is a god.
  4. Bruce Banner. One word: Hulk. And he’s enhanced.
  5. Hawkeye. No head covering, but he mostly fights from a distance…because you know, #bowandarrows.

Captain Marvel had a helmet and a much more protective suit but, to this day, people condemn her character – even though she has been the closest one to receiving equal treatment. And she’s enhanced. Natasha fights on the ground, hand-to-hand, and her hair is curled and flowing the whole time. Now I don’t know much about the comics, but, as an average movie-watcher, it’s always bothered me. So forgive me if such a trivial detail has had such an impact on me. Because it demonstrates strength. And it’s just one piece of how Black Widow successfully created a storyline laced with vulnerability in such a way that made the women stronger as opposed to needy. Hair down to hair up is a key element of this transformation.

For years, Dreykov (Ray Winstone and one of the creepiest villains-to-date) exploited the emotional vulnerability and the sexuality of orphaned and discarded girls and controlled them in order to maintain his power over the world’s most influential leaders. We know this because we have seen Natasha use it in previous films, whether she is using staged modelling photos to distract Tony from her identity or secretly interrogating Loki by using her past as a tool to get what she wants out of him. She was trained to do that, and so were the hundreds of Widows trained after her. The ponytail, the braids, even the earrings…all of them work together as a visual representation of the strength of these women to do what needs to be done. In Black Widow, they are being freed from the constraints of how they have been viewed and used by those around them.

And for me at least, it’s about dang time. If I’m not going to clean with my hair in my face, I sure as heck ain’t saving the world with it in my face. And now my heroes don’t have to either.

Black Widow is now available in theatres and on Disney+.

Black Widow: Spinning Her Own Web

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Marvel makes movies.

Of course, you could be forgiven if you’d forgotten this. With the recent push to extend the MCU into the world of streaming with buzzy series like WandaVision, The Falcon and the Winter Soldier and (now) Loki, it might seem like they’d forgotten about their status as the Crown Jewel of the Box Office.

Even so, while this heavy emphasis recently may have been (partially) inspired by the lack of movie screens during the pandemic, Marvel refused to budge on the release of Black Widow. For Kevin Feige, the intent was always to bring people back to theatres with a bang. So, we saw release dates pushed back further and further. (So much, in fact that there are 4 films coming in the next 6 months…)

Now, with the release of Black Widow, we can finally see why.

Immediately following the events of Captain America: Civil War, Black Widow follows Natasha Romanoff (Scarlett Johansson) as goes out on the run. Hunted by the US government, she takes a step into her old life with the hope of disappearing into the night. However, when Romanoff is forced to confront a dangerous conspiracy with ties to her past, she must re-assemble the estranged members of her family and deal with her own broken story in the process.

Directed by Cate Shortland, Black Widow is absolutely something to behold. Part James Bond and part Mission: Impossible, Widow is a globe-trotting adventure that gives Widow her due. In Black Widow, Johansson steps out on her own with a film that takes itself more seriously than many other films in the MCU. Anchored by a solid script by Jac Shaeffer and Ned Benson and some marvelous action scenes, it’s easy to see that the ‘cinematic’ side of the MCU is where they believe their emphasis (read: money) lies. In Black Widow, set pieces simply feel… bigger. Avalanches crash, floating buildings fall, and motorcycles rumble through the streets of Budapest in scenes that are are absolutely eye-popping. When compared to WandaVision’s climatic magic snowball fight or Falcon’s final showdown, it’s clear that these are action sequences are designed to be experienced on the big screen.

Of course, the greatest victory in the film is that it finally gives Johansson a chance to shine without the help of her fellow men in tights. (“I’m better on my own,” she argues.) Whereas Widow’s other appearances in the MCU have either sexualized her (Iron Man 2) or forced her into various relationships with other Avengers (Captain America: The Winter Soldier, Avengers: Age of Ultron), Widow portrays her character every bit as heroically and confidently as her super co-workers. (In fact, several of the film’s best jokes are at the expense of her previous portrayals.) Here, Romanoff is depicted with intelligence, strength and—most importantly—individuality.

Although it has a global scale, the film itself feels very personal and, surprisingly, small in its scope. In other words, this is not a film where the fate of the world is at stake but instead focuses on Romanoff herself as she attempts to work out the traumatic events of her past. Though it has been referenced in previous films, much of her history has only been mentioned in brief segments, such as ‘Budapest’ or ‘having her surgery’. While Natasha’s rage has been the motivating factor for her character, the MCU has never taken the time to properly explore it.

With Widow though, Romanoff finally has the opportunity to face the demons of her past. By reconnecting with her ‘family’, she begins to navigate the complex nature of their relationships. By revisiting her old life, she has a chance to reconnect with the story that made her the invaluable member of the Avengers that she has become.

Then, of course, there’s the Red Room itself.

Having been moulded from childhood into a weapon by the Red Room, Romanoff has long spoken of the fact that she’s got ‘red in her ledger’. Although she has managed to walk away from the psychological torture of the Room, she still remains somewhat controlled by its abuse. Without any spoilers, there remains shadows in her mind that continue to haunt her. As a result, Black Widow is a film that is very much about reclaiming power and control. By confronting the Room, however, Romanoff has the opportunity to finally do battle with that evil influence and release herself (and potentially others) from it in the process. 

For her first (and I think it’s fair to expect more) solo adventure, Black Widow is wildly entertaining. Fueled by heart, humour and action, the film has the style and scope that you would expect from Marvel without ever losing its soul. Most importantly though, Widow finally gives Johansson the starring vehicle that she deserves and sets a standard for female-led superhero films moving forward.

Black Widow is available on in theatres and on Disney+ on Friday, July 9th, 2021.