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This Way Up: Nowhere to Go But…

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It’s always hard to go home again. But it’s even more difficult when you’re bringing your own emotional baggage along with you.

Returning for its second season on Hulu, This Way Up is a comedy series about Aine (Aisling Bea), a sharp English-as-a-Second Language (TESL) teacher who has recently finished some recovery time in a rehab facility. After suffering a nervous breakdown, Aine returns home to reconnect with her loving but protective sister, Shona (Sharon Horgan) and attempt to pull things together. As she returns to work (and her old life), Aine rediscovers the challenges and pressures that caused her such stresses before and attempts to move forward with a new determination to survive.

Written by Bea, This Way Up is an engaging and hilarious form of coming-of-age story. Oftentimes, when a series is written by its star, the series can either feel self-indulgent or garner a sense of authenticity. Thankfully, Up falls into the latter category as Bea continues to create a character that feels real. In virtually every scene, Bea feels present and sincere in her performance. Whether she’s bantering with her sister or frustrated by those around her, Bea allows Aine to feel her feelings with strength and courage.

What’s most refreshing about Up though is the way that it tackles mental health issues with earnestness and honesty. Unlike other projects that simply portray their main characters as having to ‘get their life together’, Aine is allowed the freedom to break down at times. Coping with her own anxieties and the shame associated with her time in rehab, Aine is a work in progress. For her, health may not a straight line yet she continues to move towards it. Though she may have her daily struggles, she bravely remains determined to come out on the other side of her depression. In this way, the series offers a balance between the daily challenges of mental health and the courage that it takes to work through them. 

This sort of emotional processing was especially visible in Season One as Aine attempted to rebuild the live that she had left behind. With the release of Season Two, however, we do find Aine in a better place. With her life somewhat sorted out, she has finally regained some stability which has allowed her to become more emotionally healthy. With her relationship with Richard beginning to bloom and the offer of a new and exciting role at work, she has started to take some positive steps towards moving forward in her life. However, while Aine’s life feels less chaotic, Shona’s is beginning to unravel. Torn between two lovers, Shona is finding it difficult to balance the life she has and the one she potentially may want.

By putting a greater emphasis on Shona’s journey, Up effectively balances the fact that everyone is broken to some capacity. While Aine may have been the one to go to rehab, characters like Shona and Richard demonstrate their own inability to cope with the stresses of life and relationships as well. However, in each case, the series also paints its characters with a brush of understanding that recognizes their brokenness but also allows for grace. In Up, everyone may have baggage but, at the same time, there is also hope for all.

Funny and sharply written, the second season of This Way Up continues to give Bea the opportunity to shine but she is not the highlight of the series. Instead, in a rare matter of praise, the most noteworthy aspect of Up is its sensitivity towards those who struggle with daily mental health issues. Like Aine, this is a daily struggle for many. But, also like Aine’s journey, the series reminds the viewer that there is always the potential for Up.

The second season of This Way Up is available on Hulu on Friday, July 9th, 2021.

Summer of Soul – A Revolution Resurrected

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1969. It is the year humankind set foot on the moon. The US is heavily involved in Vietnam. Men were being drafted, but there were growing protests. It is only a year after the murders of Robert Kennedy and Martin Luther King, Jr. It was also the year of Woodstock, the amazing music festival that got out of hand. But Woodstock isn’t the whole story of music in 1969. A few hundred miles away that summer the Harlem Music Festival took place over six weekends. Summer of Soul (…or, When the Revolution Could Not Be Televised), winner of the Grand Prize and an Audience Award at Sundance, gives us a wonderful taste of that event that has long gone unnoticed.

Sly Stone performing at the Harlem Cultural Festival in 1969, featured in the documentary SUMMER OF SOUL. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

For six Sundays through the summer, the biggest names in Black music held court in Mt. Morris Park (now Marcus Garvey Park) in Harlem. Performers included Stevie Wonder, The Staple Singers, Mahalia Jackson, The Fifth Dimension, Nina Simone, Hugh Masekela, B.B. King, Gladys Knight and the Pips, and Sly and the Family Stone, among many others. Admission was free and there were estimated 50,000 people each week. And, it was all filmed! (So, then, why haven’t we seen it before? More on that later.)

Ahmir “Questlove” Thompson has brought together some of those wonderful performances and included some interviews with people who were there—performers and audience—to give us a hint of what that cultural experience was, and why it was important at that time in the Black community. This is more than just a celebration of the music. It brings forward the issues that were facing the community and the nation at that time—many of which continue.

Nina Simone performs at the Harlem Cultural Festival in 1969, featured in the documentary SUMMER OF SOUL. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

One of the issues that played a part in the festival was racial unrest. The year before, after the King and Kennedy assassinations, many cities experienced civil unrest. The city helped to sponsor these concerts, possibly in part to head off violence. When the police were slow to commit to the festival, the Black Panthers provided security. At one of the events, Rev. Jesse Jackson was part of the program to promote Operation Breadbasket.

That political setting is an important part of understanding the event (as is reflected in the film’s subtitle). The very concept that the culture of Black America was of value was a part of the larger racial revolution that was underway. But more than anything, this was about community. One of those who remembers attending as a child called it “the ultimate Black barbeque”. This was an opportunity for the people of Harlem to gather and find affirmation of their music and their culture.

The Harlem Cultural Festival in 1969, featured in the documentary SUMMER OF SOUL. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

There is a spiritual aspect to that affirmation. Some of the acts performing were in the gospel tradition. We see during some of these performances how gospel serves as a bit of therapy to the harshness of the world. The height of this understanding comes as we watch an amazing version of “Precious Lord” with Mavis Staple and Mahalia Jackson.

Getting back to the question of why it’s taken over fifty years for this to come to light. Even though it was all filmed, no one really thought Black music was a market that would make it profitable. There was a pair of local broadcasts, but nothing beyond that. There is also a sense that those who made those decisions did not recognize the revolutionary nature of such an event. (Or maybe they did.) So it’s been hidden away all these years.

The festival is sometimes referred to as “Black Woodstock”, but I find that a bit off base. While both were amazing music festivals, Woodstock became famous more for the event itself. It was a countercultural happening. It was a crashed party that overwhelmed the promoters and the authorities. The Harlem Cultural Festival was extremely well organized and its sense of community was far more organic than the seeming community of the flooded fields of Woodstock.

Hugh Masekela performs at the Harlem Cultural Festival in 1969, featured in the documentary SUMMER OF SOUL. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

All these years in the future, we still struggle with racial inequality in our society. Summer of Love allows us to consider what progress has and has not been made in the decades since the Harlem Cultural Festival. It is a blessing that it has been brought out after all this time. Not just for the music, but for the revolution that we are still ready for.

Summer of Soul (…or, When The Revolution Could Not Be Televised) is in select theaters and will soon be available on Hulu.

Photos courtesy of Seachlight Pictures.

Rewriting the History Books: 1on1 with Questlove (SUMMER OF SOUL)

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One of the most horrific things that can be done to a culture is to erase it from history. But it’s always something special when those storie are finally given the representation that they deserve.

The directorial debut by Ahmir “Questlove” Thompson, the new documentary  Summer of Soul takes the viewer back to the summer of 1969. At a time where Woodstock is fondly remembered and the moon landing changed the world, The Harlem Cultural Festival also made a mark on cultural landscape. Filled with six weeks of incredible concerts by Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight & the Pips, Ray Baretto, Abbey Lincoln & Max Roach and more, one would expect that the fest would be as well-known and fondly remembered as Woodstock itself. However, until now, the footage was never seen and largely forgotten. 

Considering that the festival that had seemingly been removed from the history books, Questlove was shocked when he first found out what had taken place.

“I first inadvertently saw the footage back when the Roots went to Tokyo in 1997,” starts Questlove. “My translator for that tour, who knew I was a soul fan, took me to a place called the Soul Train Cafe. So, unbeknownst to me, I was watching two minutes of Sly and the Family Stone’s performance. But, because it was what I knew to be camera two (which was the bird’s eye view of a nosebleed section), I didn’t know I was watching the Harlem Cultural Festival. I just assumed that all festivals in the ‘60s were from Europe because America really didn’t have that culture yet. [Then, I] find out exactly 20 years later when David Dinnerstein and Robert Fivole told me that they had this footage and they wanted me to direct the film. So, first seeing it without knowing it in ‘97 and then it was presented to me in 2017. Even then, I didn’t believe it was real.”

As a first-time filmmaker, Questlove also notes that this experience has been formative in his development as both an artist as a storyteller.

“Without being all touchy feely with it, this project more than anything has helped me develop as a human being,” he reflects. “Sometimes artists can be really neurotic, living inside our heads… I will not hesitate to admit that, of all the things that I’ve done creatively, this is the one that I was really, really nervous about. And, by nervous, I mean, scared, partly because I’m a perfectionist. What I will say is that this film has really brought out an awareness and a competence in me that I never knew that I ever had. A lot of the times everything that I do creatively is behind a shield. Behind the drum set… With the exception of teaching at NYU, you guys have never like experienced me one-on-one, There is always a barrier that gets you from getting in there. That’s sort of how I thought I liked it. So, I will say that, with the amount of confidence that I got as a human being, this was a game changer for me.”

“But on a technical side of things, I also learned the power of editing. Most Roots albums are these gargantuan, ‘everything but the kitchen sink’ projects. This is what I’m bringing to the table. My first draft was like three hours and 35 minutes. This is where I really learned that less is more and less is impactful. The three hour and 35-minute version of the film probably wouldn’t have hit you in the gut more than a very succinct two hours.”

Although, with all that he has learned throughout the filmmaking process, he also felt that his skills as an artist also allowed him to tell the story in his own unique voice.

“Me being a DJ’s is exactly what informed me on how to tell the story,” Questlove  explains. “There was a point where I was wondering ‘Could I take the same approach that I take deejaying or putting a show together with this movie?’ That’s exactly what I did. So, for five months, I just kept it on 24-hour loop, no matter where I was in the house or in the world. If anything gave me goosebumps, then I took a note of it. I felt like, if there were at least 30 things that gave me goosebumps, we could have a foundation.”

“I tend to work backwards whenever I’m given a project,” he continues. “The first thing I think about is what is the last 10 minutes of the show or the set that makes the person that goes home think ‘Man, that was incredible’ because it’s usually the last 10 minutes of a show or a presentation that’s your chance to make your audience [forget the rest]. I’ve had disastrous Roots shows where I knew, ‘okay, if I make these the last two songs and do this certain things, they’ll forget about what happened in middle of the show.’ That happens a lot. So, that’s a trick I play. Of course, I wanted to make my entry in the film world my version of inserting myself in this film… I figured that [Stevie Wonder’s drum solo] was the best way for me to crash land into your lives as a director, without really being about me. We have not seen Stevie wonder in a sort of in this light of a drummer so I thought that was the perfect beginning. That’s pretty much how I crafted the show. I searched for my ending. I knew I wanted what my beginning was and then I worked backwards. So .I added it and paste this film backwards as opposed to the other way”

Taking place in the backdrop of 1969 when the Civil Rights Movement was at its peak, its shocking that the festival has remained deleted from the history books. Asked what he believes needs to take place in order to prevent such erasure from happening again, Questlove suggests that conversations have changed in a healthier way in recent years.

“This is a step forward,” he points out. “This is the first time that I’m really seeing conversations that were never had before, especially post-pandemic. We weren’t talking about mental health for Black people and we really weren’t speaking of Black erasure. Previously, before we sort of coded it as like cultural appropriation, which was like a really politically correct way of saying… ‘Yo man, why always bite my [stuff]‘ or whatever. It was always sort of draped in slang so that you couldn’t see the heart or the sincerity of what the problem was… I know this one thing: this isn’t the only out there… So, perhaps maybe this film can be an entry sort of a sea change for these stories to finally get out. But really for us to acknowledge… one of the first ever like Black festivals is important to our history. Normally, the process is that we talk about it for three months and then we forget about it. So, that’ll remain to be seen, but I know as for me, I didn’t come into this wanting to be a director or any of those things. I do believe that again, creativity is transferable. This is not my last rodeo with telling our stories. If anything, I’m more obsessed now than ever to make sure that history is correct, so that we don’t forget who this artist is, or that event.”
Featuring performances from Stevie Wonder, Sly and the Family Stone and many more, Questlove was fascinated by the balance of styles that took place within the festival. With the development of Summer of Soul, he attempted to mirror that blend of jazz, soul and gospel music in order to show the therapeutic nature of the moment.

“As far as I’m concerned, there was a perfect balance of soul music, free jazz and salsa music,” says Questlove. “For me, I kind of saw the gospel and free jazz as one in the same thing. Oftentimes, I’m a guy that’s always doing litmus tests with people, as far as testing music out on them… but there’s one thing I always noticed. When I play really intense soul music for younger people, they tend to find James Brown’s yelling humorous. That’s funny to them because we live in a meme culture. So, those three seconds of something out of context can seem funny to people. There was a lot of, I guess, what we can call primal musical expression or primitive, exotic expression, or, in layman’s terms, like people acting wild. I wanted people to know that that was more of a therapeutic thing than anything.”

“So, if it’s a gospel singer, that’s catching the spirit. If it’s Sunny Sharrock doing one of the most atonal destructive, violent souls I’ve ever seen on a guitar… I wanted people to know that this just isn’t black people acting wild and crazy. This was a therapeutic thing and, for a lot of us, gospel music was the channel because we didn’t know about dysfunctional families and therapy and life coaches that we have now.” 

With such a personal project, it’s fair to say that Questlove found it a particularly emotional experience. For him, one of the most surprising elements was the realization that the type of musical code-switching of that era still affects his own life today.

“The emotional component of the film was something that I wasn’t preparing for and really didn’t know what was going to happen,” Questlove explains. “The sort of emotional trigger moment, at least where the Billy Davis Jr. and Maryland McCoo portion, was the fact that… my memory of all the 5th Dimension performances I saw were sort of composed and unsteady and very passionate, sophisticated. This performance of theirs at the Harlem Cultural Festival was closer to that of a gospel revival. I’ve never heard Billy Davis—with the exception of one of their songs on their solo records—use his raspy gospel baritone, like that sort of James Brown sort of thing. So, I thought it was humorous. I was like, ‘Wow, Billy, I’ve never heard you use your gospel register before.’ They kind of opened the door and said, it was because we were comfortable and excited to be there. It wasn’t the pressure of [being] on the Ed Sullivan show or the Jack Parr tonight show.” 

“And I realized then, Black people have to code switch all the time. It’s not just in the office space, but even in entertainment, because I related to that. I’m a guy that has to adjust his show… What’s the audience look like? I had to code switch all my shows that aren’t transferable to each audience. I have to adjust it for every place we go to. And I noticed that, and that was their way of telling me that they too had to go through that pressure.”

However, at the same time, Questlove also points out that one of the most emotional components to the project was the fact that it validated the memories of so many who felt the sting of that erasure of Black history..

“Opening that door is also Mussa Jackson,” he remembers. “He was five years old at the time and I was a little bit, like ‘What five-year-old is going to give me insight of the emotional deepness of being there when he’s five years old?’ He is the thing that won us over was like, this is my first memory ever, but he wasn’t sure he had it… So, once we showed him the footage, suddenly the tears started welling because for him as a 57-year-old, he didn’t know if he remembered it. He didn’t know if anyone believed him. If I didn’t believe this happened as an adult, who’s going to believe a ten-year-old… So, for him, it was sorta like that little boy that cried wolf exoneration moment. Like, I knew this happened. That’s why I started crying. So, I didn’t realize there was a heavy emotional component really until we allowed people to give commentary. I’m so glad we made that decision instead of not doing that.” 

Summer of Soul is available on Hulu on July 2nd, 2021.

To hear the full press conference with Questlove, click here.

Day 3 at AFI Docs

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Today’s films reflect a look at history. That includes a look at a wonderful music festival from 50 years ago—that isn’t Woodstock, and an in depth look at one of the darkest days of recent American history.

In 1969 the world knew all about Woodstock. A few hundred miles away another music festival took place that has been hidden away for half a century. Summer of Soul (…Or, When the Revolution Could Not Be Televised) takes us to the 6 weeks of the Harlem Cultural Festival that featured the crème de la crème of Black music at the time. We see Mahalia Jackson, The Staple Singers, Sly and the Family Stone, B.B. King, The Fifth Dimension, Nina Simone, Gladys Knight and the Pips, and many more.

This is an amazing collection of musical history of the time, but even more it is a look back at the issues that were occurring fifty years ago, and that still are a part of society’s struggles today. Directed by Questlove, this film makes a point that music speaks of and to the struggles of people. The fact that this festival has been unknown for so long is a sign that we still need to hear these voices. Summer of Soul will soon be available in theaters and on Hulu.

As we draw close to the twentieth anniversary of the terrorist attack on America, National Geographic, in official collaboration with the 9/11 Museum and Memorial, has created a documentary series, 9/11: One Day in America. The series presents oral history from some of the people who survived that day: firefighters, people who escaped from the World Trade Center and the Pentagon. These are intimate, personal, and often very graphic and emotional memories.

The first three episodes of the series are having their world premiere as part of AFI Docs. Those three episodes begin just before 6:00 a.m. and move through 10:50 a.m., shortly after Flight 93 crashed in Pennsylvania. Part of the purpose of the series is to make this a human story. In our minds 9/11 has found a place in the American mythos. We politicize it. We make it about heroism (and that is a big part of that day). We see a big picture, but this series is about many of the pieces that are the human beings involved. Those human stories are to be treasured.

I’ll be honest. This wasn’t the top of my list to see during the festival, but I thought it was important to include. The way the stories are told by these survivors, with archival footage providing much of the visuals, is truly compelling. That is not to say it is easy to watch. This is not the kind of thing to binge watch. I needed to take a few breaks along the way to process all I was seeing and hearing.

And as always, I want to share some shorts. Today I’ll note a pair of animated shorts. They are docs, but done in animation. In The Train Station, Lyana Patrick very briefly (two minutes) tells the story of her father being sent to the Lejac Indian Residential School and his mother’s weekly long walk along the railroad tracks to bring him food and to help him keep his language The film doesn’t speak of what went on at the school, but rather celebrates how Patrick’s grandmother’s love helped to form her father to be a leader among First Nation people.

Spaces (Mezery) is an animated exploration of memory—and the loss of memory. It chronicles filmmaker Nora Štbová’s brother’s struggle with losing all short-term and then all memory as the result of a tumor. A touching and loving bit of her own memory of that experience.

Photos courtesy of AFI

Changing the Game – Knowing Who You Are

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Part of my self-identity is as a jock. That isn’t to say I’m particularly athletic, but I always wanted to be. I took part in sports, but never excelled. But that desire helps define me as a person. Changing the Game, a documentary by Michael Barnett, is a look at the struggles of three high school athletes as they strive to claim their identities. All three are transgender. [Note: throughout the review I will refer to them as the gender they know themselves to be.]

Mack Beggs is a Texas state wrestling champion, trying to gain his second title. In Texas, boys are not allowed to wrestle against girls, and gender is determined by one’s birth certificate. That means that Mack must wrestle against girls. Because he is taking testosterone as part of his transitional therapy, he has a definite advantage against his opponents.

Sarah Rose Huckman is a skier in New Hampshire. That state’s rules, when she began competing, was that gender reassignment surgery must be completed to compete as that gender. (Which is a fairly inane idea given high school students ages.) She becomes an advocate for transgender rights in her state.

Andraya Yearwood runs track in Connecticut. In that state, students can compete in whichever gender they self-identify as. Like Mack, as Andraya competes in women’s races, her body (and its masculine hormones, create an advantage.

All three of these young people are skilled at their sports. But they risk controversy to take part. Is it fair to the other athletes? Is it fair to these three if they are banned from competition? The film has voices on both sides of these questions, but there are deeper questions that arise as well, such as the nature of transgender identity and the role of sports in schools.

As we meet the three athletes, their parents, friends, and coaches, we certainly see them as the gender that they identify with. Although, Mack’s grandfather still struggles with the proper pronoun to use, all of these people are supportive of them not just as athletes, but as young people. These athletes are very clear what gender they are—even if people in the stands or state athletic systems are not.

 It is also shown how difficult it is not just to be a trans athlete, but a trans teen as well. It is noted in the film that 40% of trans teens attempt suicide. The pressures of being transgender can become overwhelming. These three athletes must deal with those pressures, and have them amplified by the controversy when they compete.

The film also looks into the value of sports for students. Andraya’s coach is the most open about his view of sports. It is not primarily about winning, but about teaching life lessons to the young people he coaches. An administrator in Connecticut makes the case for their very open policy by saying that you cannot have them live as one gender all the rest of the day, then when it comes to sports tell them they aren’t that gender.

The film is a fair treatment of the issue of the participation in sports by such athletes. There are problems with all the systems to be sure. But as a jock, I value the ways that sport (even when I failed) has influenced my life. I would not want to prevent young athletes from such experiences because their bodies do not match their gender. The three athletes we meet know themselves as more than as jocks. So do we.

Changing the Game is streaming on Hulu.

Photos courtesy of Hulu.

Marvel’s M.O.D.O.K.: Mutant Mid-Life Crisis Makes M.O.D.O.K. Marvellous

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I mean, who doesn’t think a mutated head bent on murder and ruling the world is adorable?

Wait. Maybe I should rewind a little bit.

Marvel’s M.O.D.O.K. follows Marvel supervillain MODOK (voiced by Patton Oswalt) who has come to major crossroads in his life. After years of failure in his attempts to defeat the Avengers and take over the world, MODOK (which stands for Mobilized Organism Designed Only for Killing) has broken his villainous tech company AIM financially and it falls into bankruptcy. When AIM is sold to tech rival GRUMBL, MODOK is displaced as CEO and left in somewhat of a mid-life crisis. Things become even more challenging when his frustrated wife asks him for a divorce. Frustrated and hurt, the criminal mastermind must suddenly navigate a new chapter of his life and pick up the pieces with his family.

Created by the team behind Robot Chicken, Marvel’s M.O.D.O.K. is wild, hilarious and (somehow) charming. Offering a behind-the-scenes look into the life of AIM’s brilliant super-mutant, MODOK is a sharp and silly satire of the dark side of superhero films. Consistently having his plans thwarted by the Avengers, MODOK nevertheless remains undeterred and continues to look for ways to prove to the other supervillains that he belongs among their ranks. In this world, superheroes are beloved by all yet, from MODOK’s perspective, remain nothing but a nuisance. While the series is not related to the current Marvel Cinematic Universe, MODOK has the keys to the Kingdom with the Marvel characters and manages to create something new and different with familiar characters. (Jon Hamm’s appearances as Iron Man and Nathan Fillion as Wonder Man are particularly hilarious.)

M.O.D.O.K — “O, WERE BLOOD THICKER THAN ROBOT JUICE!” – Episode 108 — The time travelling Young M.O.D.O.K. finally exacts his revenge by kidnapping the family and replacing them with robots. M.O.D.O.K. goes to save his them, and they all end up in a twisted family therapy / battle to the death in Murderworld. (Photo Courtesy of Marvel)

Make no mistake though. Despite its Marvel roots and animated look, MODOK is not for kids. Like parent series Robot Chicken, MODOK uses its stop-motion style to go dark with his humour. From severing limbs to blood splatters to sexual humour, MODOK gives its writers the freedom to laugh at its evil acts and dives in with enthusiasm.

Although it’s popping with energy and dark humour, MODOK has a surprising amount of heart. Because of its serialized story-telling, MODOK has the opportunity to explore more than the maniacal machinations of a mad machine/human hybrid. With Loki and Thanos as the exceptions, the Marvel Cinematic Universe seems to rarely take time with their villains to properly flesh them out, creating a ‘monster-of-the-week’ vibe to the majority of their films. However, backed by some wonderful work by Patton Oswalt, Modok becomes more than a mutated floating head. In fact, MODOK manages to humanize its villain. (Not an easy feat for one of Marvel’s strangest villains.) While the entire cast are a joy to watch (especially Melissa Fumero and Ben Schwartz), it’s Oswalt who gives MODOK his soul.

In this way, the funniest part of M.O.D.O.K. isn’t the bizarre shenanigans. Instead, it’s how relatable he becomes. Despite his appearance and motives, MODOK is simply having a mid-life crisis. Though taking over the world remains his ‘job’, his day-to-day issues are relevant to us all. After a major tech company takes over his own, MODOK fears that his job is in peril. Moreover, he has also finally become aware that his over-emphasis on work has been causing problems at home and in his marriage. Realizing that his family is slipping away, his real hope is to make things right with his estranged wife and kids. In MODOK, we see a villain who wants to have it all… but simply cannot find balance within his family/work life. 

M.O.D.O.K — “O, WERE BLOOD THICKER THAN ROBOT JUICE!” – Episode 108 — The time travelling Young M.O.D.O.K. finally exacts his revenge by kidnapping the family and replacing them with robots. M.O.D.O.K. goes to save his them, and they all end up in a twisted family therapy / battle to the death in Murderworld. (Photo Courtesy of Marvel)

As such, M.O.D.O.K. empathizes with its lead character in such a way that he becomes relatable and strangely lovable. In Modok, we see glimmers of hope that he can turn things around in his life. This evil genius is not only relatable but also redeemable. In fact, we even root for him. (Honestly, I didn’t see that coming.) While the circumstances are vastly different, MODOK’s story could be many of ours and we want him to be able to make it work.

Violent, hilarious and touching, Marvel’s M.O.D.O.K. is a wonderful expansion for Marvel into the world of adult animation. However, while the writing works on its own, it’s Oswalt who makes MODOK so likable. His affability gives his supervillain a murderous innocence that makes him into someone you’d be willing to bring into your home.

Because, after all, who doesn’t think a mutated head bent on murder and ruling the world is adorable?

M.O.D.O.K — “IF BUREAUCRACY BE THY DEATH!” – Episode 105 — M.O.D.O.K. and Monica reluctantly team up to overthrow GRUMBL’s control of AIM. Their “complicated” history threatens their mutual goals as they work through their grievances the only way they know how… a mad-scientist fight! (Photo Courtesy of Marvel)

Marvel’s M.O.D.O.K. is available on Hulu on Friday, May 21st, 2021.

Sasquatch: Murder, Marijuana and Monsters

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(Photo by: Hulu)

Did Bigfoot really murder three Mexican workers? No. No, he didn’t.

Unless he did.

During a visit to a marijuana farm in the Fall of 1993, journalist David Holthouse overheard a story that he has never forgotten. According to several witnesses, three men had been brutally killed by Bigfoot on a nearby farm. Now, twenty-five years later, Sasquatch follows David as he returns to Northern California in search of answers about what really took place. However, as his inquiry begins to reveal the truth, he unwittingly rattles some locals that not only threaten his investigation, but potentially his own life as well.

(Photo by: Hulu)

Directed by Joshua Rofe, Sasquatch is a surprisingly gripping mystery that may be named for the mysterious creature yet ultimately spins into something far more interesting. Coming at a time when the true crime documentaries have become essential viewing during the pandemic, Sasquatch carves its own unique place within the genre using a balance of mythology and mystery that becomes utterly compelling. Filled with an endless parade of mysterious informants and animated re-enactments, Rofe does an excellent job of spinning a web of intrigue about an event (or several) that took place long ago. What’s more, Holthouse serves as an absolutely compelling frontman for this journey into the wild as he passionately seeks truth but also remains open about his personal investment in the story as well. 

(Photo by: Hulu)

Admittedly, what remains somewhat frustrating about the series is that, for much of the first half, too much time is devoted to the stereotypes surrounding the weed industry. Although the cultural stigma surrounding marijuana use continues to exist (and is worth discussing), these side trails really slow down the narrative at times. However, it’s also possible that my frustration really lies in the fact that these discussions regarding the pot industry often distract from the overall mystery. (After all, there’s surprisingly little Sasquatch in this Sasquatch documentary…)

Even so, the murder mystery is absolutely fascinating.

Photo by: Hulu)

When Rofe focuses his narrative on the investigation, Sasquatch becomes utterly gripping television. What begins as a simple inquiry into American mythos becomes a dangerous trek into a world of drug use, murder and gang activity. As the secrets slowly unravel—and yes, answers do eventually come—one can see that the perils of this particular area of Northern California are not to be taken lightly. As Holthouse falls further down the rabbit hole, the viewer can sense his anxiety increase with each blanked out name and muffled phone call. As elusive as Bigfoot himself, the answers to this mystery feel like they are just beyond his grasp so he drives forward, despite the risks to his life.

(Photo by: Hulu)

In this way, the series also explores the much larger issue of how we create our own monsters. As one person argues, monsters are rooted in our deepest fears and expose our anxieties, giving them a life of their own. However, the doc also explores some of the factors and concerns that create those demons within our world today. Conversations surrounding child abuse, poverty, misuse of police authority and the all-consuming nature of money all float through the series in ways that contribute to the overall conversation about the dangers of a society that has come off the rails. (“I don’t believe in Bigfoot but I do believe in greed,” says Holthouse.) 

(Photo by: Hulu)

In the end, Sasquatch unravels a mystery that stretches beyond mythology and into the very real monsters of our world. For Holthouse, the story seems like a fun jaunt into a potentially unsolved mystery… but develops into something much more interesting (and treacherous). As his journalistic radar takes over, the viewer becomes increasingly invested in his safety and that he eventually uncovers the truth about these alleged murders. 

Because, after all, we all know Bigfoot didn’t do it.

Unless he did.

Sasquatch is available on Hulu on Tuesday, April 20, 2021.

7.16 Freeing and FRAMING BRITNEY SPEARS

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They’ve called her Crazy and said that her life is a Circus. Now, the new documentary Framing Britney Spears attempts to unravel the mystery behind Spears’ mental health and the controversial conservatorship surrounding her estate. Is she being Overprotected because she’s Not a Girl, Not yet a Woman? Or is she Stronger than they say and stuck in a Toxic environment? This week, Judith McCartney and Kate Parkes (Elevation Pictures) drop by to chat about what we feel we’re owed by celebrities, the perils of trust and the separation of the image and the soul.

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.

7.16 Framing Britney SpearsDownload

WeWork: Fake it Until You Make it

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Everybody wants to believe in unicorns. 

These fabled creatures are majestic to see on paper. With every image, they inspire dreams and hopes of the Fantastic. But, no matter how hard you look, it’s clear to see that they never existed in the first place.

Based on this description, unicorns also exist in the business world—although the end result is the same. Directed by Jed Rothstein, WeWork: or the Making and Breaking of a $47 Billion Unicorn follows the unbelievable rise and fall of one of the largest corporate flameouts in recent memory. Led by their magnetic hippie leader Adam Neumann, WeWork began with a simple vision: to give young businesses a place where they could work together and support one another as they launch. Growing at an explosive rate, their community-centric ideal sent waves through Wall Street, amassing global interest. However, if something looks too good to be true, it probably is and, eventually, dreams must face the hard truth of reality.

Compelling from start to finish, WeWork is an amazing cautionary tale that speaks to the power of vision but the toxicity of arrogance. In WeWork, Rothstein has a fascinating subject that highlights the unique state of the business world. Coming at a time where YouTube millionaires have become commonplace, Neumann’s story almost sounds familiar. Loaded with a dream of creating space to support small businesses, this young man and his team built a business that seems worth admiring. (Does it get any more mythic than the tale of a dreamer empowering other dreamers?) However, at the same time, it quickly becomes clear that WeWork is not going ToWork financially, until ‘creative bookkeeping’ keeps them in the game. Filled with interviews from those who participated in (and bought into) Neumann’s ideal world, Rothstein does an excellent job of presenting a well-rounded portrait of WeWork’s culture from the inside. While never endorsing Neumann, neither does he fully demonize him either, allowing the viewer to decide the true value of his vision.

With this in mind, the most polarizing aspect of WeWork is Neumann himself. Part guru, part Zuckerberg, there’s a lot to admire about the young dreamer. His charisma and charm are infectious, especially at WeWork’s initial launch. However,WeWork also recognizes that these attributes, while attractive to follow, do not necessarily make a quality leader. With a mantra and expectations dependant on employees buying into their corporate culture, Neumann’s personality seems to border on cult leader at times. Preaching the benefits of community and, at times, world domination, he speaks as a spiritual guru and works (seemingly) with little accountability. (As one person says, ‘If you tell a 30-something male that he’s Jesus Christ, he’s inclined to believe you.’) Then, as things begin to spiral out of control, Neumann’s commitment to the vision makes him both sympathetic and terrifying as he attempts to scramble to preserve what’s left of his dream. 

What’s amazing is that WeWork’s premise that start-ups could work together in an open space actually appears to have merit. Neumann’s vision to bring people together to achieve their dreams is a surprisingly powerful model for businesses moving forward, especially for young Millennials who truly believe that they can change the world. (What’s more, the fact that this took place immediately before a global pandemic is not lost on WeWork, as former employees yearn for the type of community that was pitched to them when they first hopped on board.) Led by a simple vision, WeWork gave young people the opportunity to work in a Facebook or Google-esque environment while still creating their own vision. This was an environment where people could feel supported by one another as they attempt to carve out their niche together… and it was working. While there will be some that question their expansion into the world of housing and education, there is much to be said about the value of their intent. To Neumann and his wife, the true value of WeWork as a company began not out of financial value but in its (supposedly) spiritual emphasis on connectivity.

The one thing lacking from this film is the voice of the enigmatic creator, himself. Though its completely understandable why he would not want to participate, one wishes that Neumann would have agreed to appear in the doc so that we could hear his perspective. His belief that the workplace—and the world—could be transformed by collaborating and celebrating the achievements of others is a noble goal and seems achieveable. To change the face of Wall Street while doing it though truly does seem too good to be true.

Most unicorns do.

WeWork is available on Hulu on Friday, April 2nd, 2021.

Solar Opposites: Relaunching into Season Two

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Justin Roiland and Mike McMahan, the comedic geniuses behind Rick and Morty, are back again with the second season of Solar Opposites. Returning to the journey of the aliens from Shlorp; Korvo, Terry, Yumyulack, and Jesse and their goal of evolving their Pupa to terraform Earth. Similar to the first season, the viewer embarks on the comedic journey of this alien family on the planet Earth surviving and adapting to human culture. As well as trying to survive with each other’s contrasting personalities, Korvo and his replicate, Yumyulack, only want the renewal of their homeworld Shlorp. Korvo and Yumyulack want nothing to do with humans, seeing our species as disgustingly greedy selfish beings. However, Terry and his replicate Jesse begin to relish in America Earth culture as well as having a wholesome outlook on our species, seeing our potential as something greater.

The story and tone of Season Two is very similar to that of Season One. In terms of structure, the A plot features either Korvo and Terry, or the B plot features Yumyulack and Jesse, though sometimes they switch turns. Then, there is the glorious C plot of what people considered the best part of the show: “The Wall.” The A and B plot featuring the aliens is incredibly creative and fun. Justin Roiland really takes his creative talents from Rick and Morty and puts them to good use on Solar Opposites. Crazy alien designs, technology, made up alien words, and extreme sci-fi action sequences really portrays how “alien” these aliens are. 

There are some issues that I found with S2 (and still have) with Solar Opposites, in general. Its goal seems to still be relying too heavily on the high-concept sci-fi elements of the show. Though creative, the story itself is much too linear, leading to it being predictable and straightforward. Comparatively, Rick and Morty has high-concept sci-fi elements but also maintains complex characters and plots that are unpredictable and always challenged the viewers expectations and perception of traditional story arcs and narrative. As a result, Solar Opposites feels like a much more laxed version of Rick and Morty, with a lack of plot and sci-fi elements that are not high-concept or creative enough to make up for it. 

Solar Opposites‘ A and B Plot are both C-tier at best. However, Solar Opposites C-plot “The Wall” is an A-tier story beyond the show itself and deserving of its own standalone story. Jumping straight back into the events ending from S1, the shrunken inhabitants living in Yumyulacks and Jesse’s wall continue to survive and live on in their seemingly post-apocalyptic community. What makes it so great is that, unlike the alien storyline, the wall has a serialized narrative with characters that are three-dimensionally written with realistic personalities, as well as having actual stakes on the line living in the wall. This is a huge contrast from the aliens who all are one-note characters that are boring and predictable.

Another great thing about the Wall is that the scenario and scenery are immersive. Everything from the props and background is in there under the consideration of the inhabitants being tiny. One small example comes through the food in the Wall. Things like berries are massive to them, and having a lack of traditional protein in the wall has caused the people to adapt and use things like mouse milk and the meat of insects. Even something as small as BBQing an ant roast-pig-style really help open up this immersive tiny civilization that they’ve built. Everything from their economy, houses, clothes, and politics is built upon the foundation of their tiny situation. The creativity really contrasts with the alien’s plot. Making the wall story that much better and the alien plot much worse. They really are solar opposites. 😉 I can’t wait to see more of the Wall next season and am far more invested in the ongoing situation happening there than the aliens goofing around. 

Season 2 of Solar Opposites picks up with the same vibe and energy of the first season. If you enjoyed S1, then you’ll definitely enjoy season 2. The alien family continues to survive on earth, with some viewers enjoying it more than others. More importantly, the Wall is back and better than ever as it continues to shine and keep me invested into the story. Overall, Solar Opposites is still as fun to watch as last season and worth recommending.

Solar Opposites Season Two is streaming on Hulu.