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Disney+

7.14 Creating Kumandra in RAYA AND THE LAST DRAGON

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With their latest animated tale Raya and the Last Dragon, Disney transports the viewer to Kumandra, a nation that has remained divided for centuries. However, when an attempt at reconciliation goes horribly wrong, it falls on Raya, princess of the Heart region, to embark on a quest to find the mythological last dragon and restore peace to the world. This week, we form our own Fellowship of Butt-kickery as Jolie Featherstone and Miriam Ibrahim assemble to talk about the evolution of the Disney Princess, the meaning of Kumandra and the power of soup.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify 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.

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The Falcon and the Winter Soldier: Battle Scars and Bank Loans

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Next one up.

With seven series and five films (!) on tap for 2021, it’s fair to say that Marvel wants to keep their schedule moving along. As a result, even though we’re only two weeks out from the finale of WandaVision (don’t you kind of miss Agatha already?), the House that Stan Lee Built has already moved on to their latest Disney+ entry with The Falcon and the Winter Soldier, a series which explores what it means to be a hero when you’re stuck living in the shadow of another legend.

The Falcon and the Winter Soldier picks up shortly after the events of Avengers: Endgame. (With no direct ties to WandaVision, there’s no obvious indication from the series where they fall in the timeline with one another.) Living from military contract to contract, Sam ‘The Falcon’ Wilson (Antony Mackie) has passed on the opportunity to take on the mantle of Captain America, opting instead to go home and help his sister deal with their family’s fishing business. Meanwhile, Bucky “The Winter Soldier” Barnes (Sebastian Stan) continues to live a life of solitude as he attempts to make amends for his past crimes. However, as a new evil lurks in the shadows, Sam and Bucky must work together to expose their plan and save the world once again.

With the global success of WandaVision and today’s release of the first episode of Falcon, Marvel (and Disney) have seamlessly moved from an (almost) exclusively MCU to the M-TV-U. But, so far at least, the most unexpected element has been the quality of the series thus far.

In some ways, it should not a shock that the Marvel product has been translating so well onto the small screen. While the MCU is known for its big budget special effects and larger than life battle sequence, the material has never forgotten its roots in comic books and long-form storytelling. (Besides, what is the Marvel Cinematic Universe if not the modern equivalent of the Saturday morning serials with a larger budget?) 

Even so, it does come as a bit startling how patient Marvel has been with their storytelling with this new venture into television. For example, in WandaVision, it wasn’t until the 3rd or 4th episode before the Marvel connections really began to take shape. With Falcon, Marvel again shows their confidence in their storytelling (and their fan base) by adopting this patient approach. Though this series will ultimately be only six episodes long, the introduction to the series primarily focuses on the challenges in the lives of our two protagonists. (Seriously, when did you ever think you’d see an Avenger struggle to get a bank loan? Doesn’t S.H.I.E.L.D. take care of their own?) While the series opens with a solid action scene, the rest of the episode focuses almost exclusively on character development, grappling with issues of PTSD and systemic racism.

It instantly impressed me.

Marvel has always been at its most interesting when they take risks. Whereas WandaVision leaned in exclusively into television history, Falcon (so far) seems committed to telling a story that focuses on what happens when the war [seems to be] over. With Sam working from contract to contract and Bucky grappling with the sins of his past, the two men are attempting to reintegrate their lives with everyone else. Though known as heroes for their time with the Avengers, they are now struggling to get by. Whether it’s trying to pay the bills or simply living with extreme anxiety, both Sam and Bucky are coming to grips with life after the shield. 

Now, of course, we know that the story is not going to end there. Teases of a new evil organization point to a more traditional MCU series of large-scale military battles on the horizon. But, for now at least, their greatest battle is understanding the legacy they leave behind. In this way, Sam’s story feels the most relevant. After having passed on the mantle of Captain America, he’s wrestling with his own worthiness as a hero and the missed opportunity to follow in the footsteps of an American icon. Sam understands that the world ‘needs a new hero [that’s] suited for the times we’re in.’ But he doesn’t believe that he can be that person…yet, anyways. (Certainly, the prospect of an African American lead taking on the role of Captain America would be an important opportunity that Disney needs to take—but that remains to be seen at this time.) For Sam (and Bucky as well), the mantle of ‘hero’ simply feels overwhelming. They know who they are and what they’ve done and, because of it, the standard of heroism simply feels too high for them to apply. 

While I’m certain that, eventually, the men will reconcile their past with their role as heroes, it is always interesting when Marvel challenges their characters emotionally. In Falcon and the Winter Soldier, there is a recognition that the mantle of responsibility must be taken seriously. At the same time though, the series also hints at the fact that all leaders are imperfect at some level, meaning true worthiness stems from some other aspect of their character.

But we’ll have to wait for the show to unravel to tell us what that is.

The first episode of Falcon and the Winter Soldier is available to stream on Disney+ on Friday, March 18th, 2021, with new episodes every Friday.

7.13 Wrapping Up WANDAVISION

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Previously on SF Radio, Heather Johnson, Miriam Ibrahim, and Dina Hamdieh joined me to talk about the first half of WandaVision. Now, the team reassembles to break the fourth wall and delve into the World of Westview once more. With the Series Finale in the rearview mirror, we discuss managing fan expectations and whether or not Wanda is the true villain.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify 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.

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Us Again: Dancing in the Rain

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Set in a vibrant city bubbling with rhythm and energy, Us Again tells the story of an elderly man self-confined to his apartment. Though his young-at-heart wife calls him to step out and enjoy the city, he stubbornly refuses. However, when he finally steps out onto his balcony in the pouring rain, he begins to feel reborn. Taking to the streets to find his lady love, they revive their youthful thirst for life and their feelings for one another.

Written and directed by Zach Parrish, Us Again is undeniably charming. Tagged with Raya and the Last Dragon, Us Again is the type of animated short that truly is best seen onscreen (although, for most, that may not be a possibility right now). As Disney’s first animated short in five years (!), Us Again is a return to form for the studio. While the short contains no dialogue, this story of rekindled love and youth shines brightly with joy and energy. Brightly coloured and featuring a bouncing score, Parrish’s film pops onscreen with a vibrancy that is almost intoxicating, drawing you in with every step and movement.

At its heart, Us Again is a reminder that the joy of life stems from being willing to experience it. As the world goes on around him, this man has lost sight of the boyish exuberance that once sparked his life. Though his wife yearns for him to join her, he refuses to leave his inner sanctum. However, when the rain calls him outside and he sees the joy and bright lights of the city, his soul begins to dance once again. By stepping outside, he realizes that his stubborn refusal to participate in life has been draining him of his vigour in the process. Conversely, these new perspectives create moments of joy that regenerate both his soul and their relationship. (Incidentally, Us Again also feels oddly appropriate at a time when many feel trapped within their homes due to the current pandemic.)

What’s more, Us Again highlights the fact that joy can be a choice. Although this man seems to believe that his best years may be behind him, this bright, shining moment reminds him of who he once was. However, at the same time, he also connects his re-emergence with the rain around him. As the rain begins to dissipate, he immediately fears that his joy will disappear with it. Nevertheless, through the love of his wife, he comes to recognize that he controls his attitude, regardless of his circumstances. 

No matter what’s happening around him, he can choose to dance.

This is not to suggest that the problems of the world do not wear on our hearts but rather to point out that there is always joy to be found in our relationships with the people that care for us. (Again, this is yet another poignant truth coming at a time when the world situation feels particularly bleak.) Despite his age or his circumstances, this man understands that his vivacity comes from within. His perspectives shape his reality—and those perspectives have begun to shift in a healthier direction.

In the end, Us Again may not be long but it remains poignant in its message. Coming at a time when many feel drained and exhausted by the global pandemic, this tale of youthful regeneration serves as a sharp reminder that our joy stems from our ability to focus on the people that give us life when things seem darkest.

Even in the rain, we too can dance again.

Us Again is available in theatres with Raya and the Last Dragon on March 5th, 2021.

Raya and the Last Dragon: Trust Lost. Trust Restored.

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I love The Mandalorian (and all Star Wars).

I love WandaVision (and all Marvel).

I love High School Musical (and all the others).

But my favorite, FAVORITE Disney moments come when Disney goes back to its roots and gives us a good animated classic. And Raya and the Last Dragon should be considered one of Disney’s finest moments in the genre it defined.

Division is no stranger to the world. As far as history takes us, there has been tensions between people, often resulting in feuds, borders, and violence. Our reasons for such behavior are as varied as our humanity itself and, from my vantage point, it’s hard to have hope for authentic reconciliation.

For Raya, there was a moment of that same hope that was quickly destroyed. For 500 years, the once-harmonious people of Kumandra had been fighting amongst themselves in the wake of a monstrous Druun attack. Through the power and sacrifice of the dragons that once lived peacefully with the people of Kumandra, the dark beings were defeated, but the people were left divided, breaking into factions and arguing over who should have the Dragon Gem. Raya and her father, leader of the Heart tribe, are the protectors. During an invitation for peace, Raya befriends Namaari of the Fang tribe, only to learn that peace was never truly an option as the Druun return and terrorize yet again. Years later, Raya continues her quest to find the last dragon, Sisu, who is said to have the power to once again defeat the Druun and bring back those who were lost.

Disney’s 21st century approach to princess movies continues to earn my respect. And while no movie is perfect, Raya and the Last Dragon was pretty close. For starters, the majority of the voice cast are actors and actresses of Asian heritage – fitting considering the context of the film. This is an increasingly important element in movie making, so I am glad to see the intentionality with the casting. Kelly Marie Tran as Raya, Awkwafina as Sisu, Gemma Chan as Namaari, Daniel Dae Kim as Raya’s father Benja, and Benedict Wong and Sandra Oh are incredible together. So, I consider that a pretty solid starting point.

Also, let’s take a minute to appreciate just how pretty this movie is. The technology and craftmanship behind the animation blew me away, down to the stands of hair coming undone in Raya’s braids. With such attention to detail, it was near impossible to look away. The cracks in the sand, the dimension of the water – even the dust floating – all of it painted a realistic-yet-enchanting visual.

Plus there is ZERO LOVE INTEREST and I am here for it. While trying to find the last dragon, find all the pieces of the Dragon Gem, avoid being turned to stone by the Druun, and relentlessly hoping to save her father, Raya flat out does not have time for a relationship. To force something into the story for the sake of it would have ruined this entire film.

Instead, Raya has to learn something else. She has to open her heart back up to people in general. Trusting a stranger led the world to ruin, so to protect herself from ever making the same mistake, she withdraws and keeps everyone she meets along the way at arm’s length. Goodness, how often have we all been broken by someone turning on us after trusting them? And unfortunately, this is often something kids learn at young ages, so they can relate to Raya’s journey in a way that is understandable and relevant to them.

Finally (for the sake of this review), this movie rejuvenated my sense of hope. Reconciliation is straight up hard work. It’s uncomfortable. It requires time and intentionality. It can hurt. But it’s possible. Raya fought the truth that Sisu regularly spoke out of fear that she would be hurt again. But the truth is, yes, we will get hurt again. And we will hurt others. But we don’t stop trying. Peace-making is messy. But man, how beautiful it can be.

Raya and the Last Dragon is now available in select theatres and to rent on Disney+.

WandaVision Episode 7: “Would You Rather Be Feared or Loved?”

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I’ll keep this short and sweet. 

I haven’t had a show that has kept me in a perpetual state of “what the heck is going on and what the heck will happen” since season 5 of Bones the way WandaVision has. (To be fair, that’s actually the last season I watched – another story for another day.) Most of my conversations over the weekend involved episode 7: “Breaking the Fourth Wall,” and, if they didn’t, I was googling #allthethings.

Friday’s format was my favorite yet. The show’s use of The Office and Parks and Rec interview style and direct character-to-audience engagement was hilarious. Kat Dennings’ Darcy Lewis gets funnier by the minute, and I squealed at those scenes with Monica. Of course, the ending blew me away (I’m still humming the tune), and be sure to stay tuned during those credits as the powers that be finally pulled a classic MCU move with a bonus scene. There was just so much to watch.

And so I ask one question: if you aren’t tuning in to WandaVision, just what are you doing?

While it’s no secret that this is leading up to the next phase of movies, there is still so much to enjoy on its own merit. Elizabeth Olsen’s acting is phenomenal, especially when Wanda’s control is slipping and sliding. Her comedic delivery in this most recent episode is just one more example of Olsen’s ownership of this character and personifying the depth of complication and humanity that is within Wanda’s psyche. So often we talk about what she is doing to others and her motivations, but these past two weeks especially have shown us the toll it’s having on her.

Now we know that she isn’t the only player involved, but it’s her relatability that makes her such a powerful character for me. We’ve talked a lot about her losses and grief and just how powerful she is, but something I don’t think we talk about is how normal Wanda can be. No matter how or why she is in Westview, at her core she just wants a happy life. She loves Vision. She loves her boys. She’s stressed and tired from being on her guard 24/7. Super human or not, she just wants peace. 

As we fly forward into the final two episodes that are sure to be even more riveting than the ones we’ve seen so far, I’m hopeful we remember this side of Wanda. I don’t think she wants to be feared. I think she just wants to be loved.

WandaVision is now streaming on Disney+

Flora & Ulysses: Hope for a Hero

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When we’re in our darkest moments, we all need a hero.

But, when that hero turns out to be a squirrel, things can get… interesting.

Now available on Disney+, Flora and Ulysses tells the story of Flora (Matilda Lawyer), a 10-year-old girl with an imaginative mind whose family is slowly falling apart. With her mother (Alyson Hannigan) struggling in her writing and her father’s (Ben Schwartz) career as a comic book writer failing to launch, tension within the home has caused them to separate. As her parents inch closer to divorce, Flora is looking for something that can bring her family back together. Then, after she rescues a squirrel, Flora names him the little creature Ulysses and decides to bring him home as her pet. As they become friends, Ulysses soon begins to exhibit superpowers that help gives Flora a new sense of purpose and may change her world forever.

Directed by Lena Khan (The Tiger Hunter), Flora & Ulysses is a charming but forgettable film that shows what can happen when hope breaks into an empty vacuum. Part Alvin & the Chipmunks and part Condorman (look it up), the film is a silly and heartwarming piece that should delight children (yet doesn’t necessarily leave parents ‘wanting more’ when the credits roll). Thankfully, though she gives Ulysses increasing superhuman abilities, Khan never forces him to be anything other than a squirrel. While this may seem an insignificant observation, it allows the film to maintain a certain (albeit limited) sense of realism that keeps the focus on the relationships of the characters as opposed to talking animals. (Sorry kids, there are no singing rodents covering the Black-Eyed Peas in this film.)

Another thing to the film’s credit is its wonderful cast. Schwartz and Hannigan are given space to bring their charm and comedic strengths to their scenes. (Although, admittedly, they have few scenes together so the chemistry between them is hard to gauge.) In addition, as obsessive animal catcher Miller, Danny Pudi brings the frenetic energy of a John Hughes villain from the 90s. However, tying the film together is ultimately young Matilda Lawyer as the ever-optimistic Flora. Flora’s relationship with those around her literally ties the characters together for much of the film and Lawyer’s innocence and charisma are a joy to watch onscreen.

Though Flora & Ulysses shows the fun of a ‘hero-in-waiting’, the true heartbeat of the film is the relationship between hope and belief. While those around her view Ulysses as a reckless (and potentially rabid) squirrel, Flora sees him as so much more. To her, he is a noble creature on the cusp of greatness. Buoyed by her belief, Ulysses continues to gain confidence and evolve into his true potential, growing from common vermin into dynamic hero. 

What’s more, with each new ability that he discovers, Flora’s belief becomes contagious amongst her friends and family. This new-found hope shines a light in the darkness for those around her. Her father’s struggling career seems less important than being there for his daughter. Her mother’s ambition gives way to an appreciation of what she has now. 

For them all, hope shifts their perspective.

Though they’re lost in their own broken ambitions and dreams, the hope they discover in the miraculous Ulysses begins to show them that anything is possible. As their worldview is changed by an injection of hope, every aspect of their lives begin to improve, from the quality of their relationships to their personal success. In this way, the film reminds families that disappointments don’t need to be the end of the story. By changing their perspectives, Flora and her family can see beyond their defeats and cling to the things that they still have together. This gives them a chance to refocus on a new future together, rather than lose themselves in the frustrations of their past.

Fun-loving and sweet, Flora & Ulysses is an adorable addition to the Disney+ line-up. Backed by energetic comedy and quality stars, the film makes for an evening of light-hearted entertainment that the whole family may enjoy. 

And maybe the story of the squirrel will even shine a little light in some dark spaces.

Flora & Ulysses is now available on Disney+.

WandaVision Episodes 5 & 6: Coming Back from Cancellation

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[Caution: This post contains spoilers for Episodes 5 & 6 of WandaVision.]

Grief is a strange thing.

Whenever we lose someone that we love, our feelings can fly all over the place. Misplaced anger, sadness, relief or even joy can come at us in waves without prompting. We can fight with ourselves in disbelief or simply crumble under the weight of our emotions. Because everyone grieves differently, these feelings can be scary, causing us to ask whether or not what we’re experiencing is normal (or even acceptable). 

But WandaVision has taken this to a whole other level.

For those who aren’t keeping up (and, seriously, why wouldn’t you be?), WandaVision follows the marital bliss of beloved Avengers Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany). Playing out through the lens of classic television sitcoms, everything seems right in the world for the couple until cracks begin to appear in the façade that point to something more sinister.

Since it began, the show has literally stormed the globe. (Current reports suggest it’s the #1 series in the world.) What began as a history lesson in television nostalgia has edged ever closer into true horror with a conspiracy angle that’s driving the story forward. All this has blended together into something truly magical that has drawn in new audiences while connecting with those already heavily invested in the MCU. Regardless of your previous interest in Marvel, WandaVision has all of us asking the same question right now…

What’s going on with Wanda?

The most recent episodes have really leaned into the fact that Wanda is heavily involved in the machinations of this world. Neighbours ask her if she wants them to ‘take it from the top’ when things don’t go as planned. She can clearly control elements such as time and repair what’s broken when needed. She’s even brought back her brother from the dead (even if he’s not who she remembers). For her, Westview is a safe space where she has ‘everything that she wanted’ (as she indicated in her brief appearance to the S.W.O.R.D. installation).

But it still seems entirely connected with Wanda’s grief.

In the last few episodes, the series has specifically referenced Vision and Pietro’s deaths (even throwing Ultron’s name into the mix). When confronted with questions about her reality, Wanda attempts to ‘roll the credits’ in an effort to skip to the end of the episode and ignore the conversation (to no avail). And, of course, the sixth episode saw Vision almost vaporized in a Truman Show-esque attempted ‘jailbreak’.

What has become clear though is that Wanda can’t seem to bring people back from the dead. After the death of their dog Sparky, Wanda is called out by Agnes and the twins to ‘fix it’ yet she says she doesn’t have the power to do so. Although her resurrected brother and, of course, Vision seem free to live within the Hex, Wanda seems powerless (as of right now) to be able to keep those she loves from dying.

Apparently, in the Hex, there are rules about death. 

Rules we don’t understand, but rules nonetheless.

In many ways, there’s a strange comfort around death in this way. Though our grief may plead with us to keep people alive, there’s also a sense of freedom that comes from being able to let them go. Although he’s thriving within Westview, Vision feels trapped. Neither Vision nor Wanda seems at peace with this arrangement, even though Wanda seems the most willing to try to maintain the pretense of marital bliss. The loss of a loved one is never an easy experience but, assuming that Wanda is running this show, she seems to have lost all sense of objectivity. If she can have her husband and brother back, she is determined to make it happen. (Admittedly, this is still unclear. While the series is leaning this direction, I’m not convinced this is entirely her decision.) 

But, by being unable (or unwilling) to process her own grief and release her loved ones from her fantasy world, I would argue that Wanda’s really the one in prison. While her time with Vision and Pietro may have been cut short—saving the world comes at a cost—it is the time that she did have with them that matters most.

Like Wanda, we cannot control life and death… but we can celebrate the people in our lives when we have them.

Though the MCU has never hinted (officially) at any belief in an afterlife or specific faith, what seems clear is that Vision is being prevented from taking those next steps by being held on to by his beloved. In the same way, Wanda seems to have become a victim of her own marital façade. For her, hope appears to be deeply connected to her ability to release those she loves from her will by accepting the truth that they have already gone. Like any great series, there comes a time when the show needs to be cancelled. Though she cannot bear the thought of life without them, neither can she keep them alive by forcing them to stay in her fantasy world. In fact, this  release may be the greatest act of love that she can offer them (or herself).

When she does, maybe then the healing can begin.

Maybe then she (and they) can truly be free.

The first six episodes of WandaVision are currently streaming on Disney+ with new episodes airing each Friday.

7.11 Tuning In to WANDAVISION

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After a long absence, the Marvel Cinematic Universe has finally made its triumphant return. Streaming exclusively on Disney+, WandaVision tells the story of beloved characters Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) who finally have the lives they’ve always wanted. However, as the white picket fence starts to show its cracks, the facade seems to point to something more sinister. Told through the lens of classic television sitcoms, WandaVision is a wild ride that pushes the Marvel Universe into the weirdest of places, giving it a charm and darkness that have kept audiences glued to their sets. Tune in this week as we’re joined by SF’ers Heather Johnson, Miriam Ibrahim and newcomer Dina Hamdia to talk about tv as a place of safety and the power of grief. 

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify 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.

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WandaVision Episode 4: Oh Hey There, Marvel

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Ok. Doing this spoiler-free isn’t the easiest thing, but it’s what I’m going for. So, wish me luck.

Marvel showed up with Friday’s 4th episode of WandaVision. And when I mean showed up, I mean THIS felt like the Marvel I’ve been tracking with since Iron Man was released in 2008. Don’t get me wrong, I especially enjoyed the the look and feel of the first two episodes (as did my typically uninterested husband), but to see old faces, new faces, more easter eggs and throwbacks to previous installments than I could count, and an uncensored interaction with Wanda herself got me all hyped up for where this can take us next. ESPECIALLY in the next phase of the MCU. 

Up until this point we’ve seen glimpses of “the outside” of Westview, but the central focus has been on Wanda herself and the world in which she clearly has some control. Episode one introduced us to Westview and Wanda’s seemingly sitcom perfect life with Vision, both of them working to blend in and create a home. Episode two pulled back the veil just a bit, while also sending us spiraling into a chaos of theories regarding just how aware people are (and aren’t) that something is off. Episode three (and fresh in technicolor) was the oddest episode for me, and gave me more questions than answers. But it was a great lead in for “We Interrupt This Program,” and the Internet (and my brain) is abuzz having seen just how intricately the masterminds behind the MCU have connected this show to the larger universe…or should we say multiverse?

Something I have always enjoyed about Marvel is how, even without the background knowledge of the comics, I do feel like there is always an open spot for someone new. Maybe not in the deep dives of theories or historical timelines, but in the creativity and sensation of “hey, I feel like a part of this.” Marvel has always seemed to have a little something for everyone, and WandaVision, while incredibly different, is no exception. Even I have developed some of my own theories that I’m excited about and can’t wait to see play out. And that husband who has had zero investment in anything Marvel for the past 13 or so years is now waiting for Friday nights.

Which is what good TV does. And WandaVision is doing just that. With the Marvel flare, of course.

WandaVision is currently on Disney+.