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Bite Size Halloween: The Horrors of Home

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‘Tis the season to be scary.

Featuring twenty new tales designed to bring chills to the senses, Hulu’s Bite Size Halloween is a delicious treat for fans of the horror genre. Now in its third season, Bite Size has garnered a reputation for giving opportunities to rising filmmakers to share their spooky stories from around the world. Shot in seven different countries, this collection of shorts leans into the elevated nature of horror in order to explore topical issues but never loses the bloodshed.

With each narrative, Bite Size uses short form storytelling to keep its narratives tight without ever holding back on the darkness. Admittedly, much attention will be given to the shorts that carry the most star power. Ranging from GLOW’s Kate Nash and Rebekka Johnson to She-Hulk: Attorney at Law‘s Tatiana Maslany and her real-life husband Brendan Hines (Locke & Key), there are certain a few recognizable faces that are noteworthy. However, these tightly-written tales do not require celebrity marquee to make them fun. In fact, some of the best stories in this collection include no major stars but are led by some focused and purposeful writing, such as the maternal nightmare of Sleep Study and the story of spurned love in Disposal. 

Admittedly though, Bite Size Halloween truly bears its fangs when it launches into the world of injustice. In recent years, the horror genre has become an increasingly important space for conversations surrounding social action and Bite Size makes the most of the opportunity to share its soul. Told with a satirical mixture of humour and brutality, these brief tales are designed to start conversations that are far deeper than the horrors of the holiday. With blood and fury, the true value of these Bites lies in their soul. Issues such as racial discrimination, LGBTQ stereotyping, the effects of trauma and abuse and more infiltrate many of these narrative tidbits, giving them an added punch behind the gore. 

In doing so, Bite Size Halloween also highlights the fact that the greatest horrors among us live at home, as we disguise our own brokenness and emotional shadows. In each of these shorts, social injustice is revealed to be the true killer, as it infects and destroys whatever it touches. For example, in NZU, the story begins as one man’s desire to ask his fiancé’s parents for permission to marry their daughter. However, the film quickly uncovers a history of racial segregation and slavery embedded in this young man’s history that he is unwilling to take account for. Similarly, Foreigners Only highlights Bangladesh’s favoritism of white America, as opposed to its own people. In each example, Bite Size highlights the evils that lie within ourselves, creating monsters that hurt others in the process.

While not all the shorts are memorable, certainly there are enough delicious morsels to make this season of Bite Size Halloween worth digesting. More importantly though, this year, the franchise really sinks its teeth into topics that matter, giving these shorts a whole new flavor.

Bite Size Halloween is available on Hulu now.

Under the Banner of Heaven – Faith wrestles doubt

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Faith and doubt struggle within a police detective investigating a brutal murder in Under the Banner of Heaven. The FX/Hulu series is a fictionalized version of a non-fiction book by Jon Krakauer about a 1984 double murder in Utah. It is steeped in the beliefs of the Church of Latter Day Saints (often referred to as Mormons, although the church prefers that term not to be used). The book and the story show parallel histories involving the murders and LDS history.

The focal point of the series is a fictional character, Detective Jeb Pyre (Andrew Garfield), a devote LDS member who is investigating a brutal murder of a woman and her baby. Pyre serves as our guide into the LDS church and practices, as well as the person who must struggle with doubt as secrets become exposed. His partner, Detective Bill Taba (Gil Birmingham), is a Paiute and not a member of the church. He serves as an outsider who (like most viewers) doesn’t understand LDS beliefs and culture.

The series follows Pyre’s investigation that first looks at the victim’s husband, Allen Lafferty (Billy Howle), who has already stepped away from the church. As Pyre talks with him, his own faith begins the process of being challenged by one who has such strong doubts. As the investigation expands, exploring variants of LDS church and teachings and the history of the church (seen in historical flashbacks to the times of Joseph Smith and Brigham Young), Pyre must deal with information that all is not as he has always thought. The whodunit aspect of the series (although well done) is not the real draw of the show, however. More important is the way doubt and faith are woven into the story and the characters.

I am aware that there has been some criticism of the series from people within the LDS church. My knowledge of the church’s history, teachings, and practices is limited, so I won’t be commenting on those things. However, the concepts of faith and doubt that hold a central place in the narrative of the series is something that is common among all people. Watching Pyre try to navigate his own growing doubts while trying to remain faithful to his job, his family, and his church is what makes Under the Banner of Heaven worth watching, because we can see our own struggles in him.

Where do all these doubts come from? There are various sources. The first is the kind of doubt that arises from when religion doesn’t fulfill our expectations. Early on, when Pyre is interviewing Allen, Allen said that when he found the bodies, he prayed. But when Pyre asks why he would pray if he doesn’t believe, Allen responds, “It was my last unanswered prayer.” I found that to be a powerful line to describe the feelings of being abandoned by the God he believed in.

More doubt grows from learning more about the history of the church as Pyre digs into Lafferty’s family. (There are several brothers, some of whom have adopted radical fundamentalist teachings.) In the historical flashbacks we see the early persecution of the LDS and its founder Joseph Smith. We also see the violence done under Brigham Young to non-believers). Pyre knows some of these stories, but there are parts of the history that are often left out. This is something that is not exclusive to the LDS. Many faithful people are shocked to learn about some of the stories in the Bible that are often glossed over in Sunday School. We may also be challenged by the way the church has acted through the centuries, including blatant and violent antisemitism, and the persecution of varieties of Christians we disagree with. (Cf. the way the Puritans in Massachusetts treated Baptists, or Protestants and Catholics in Northern Ireland.)

Still more doubts arise for Pyre when he learns that he must deal with the church hierarchy that is more concerned with image than with the truth. As Pyre looks into the fundamentalist beliefs of the Lafferty brothers, the church wants all these ideas covered up. But the powers in the church are subtle in their intimidation, including using his family against him. There are too many stories in the broader church about churches and denominations that have covered up many kinds of abuses. Often the stated reason is to protect the faithful, but when the truth eventually comes out, the lies of the coverup really do more harm to faith than the abuses themselves.

At the beginning of the series, Detective Pyre has a strong, but simple faith. He has lived in an environment in which that faith is shared by nearly everyone. Questions are rarely brought up. When he must deal with so many issues in this investigation, he must struggle with the doubts that arise. It could be that those doubt have the power to strangle his faith. Or perhaps, in the wrestling his faith will get stronger.

Under the Banner of Heaven streams on Hulu in the US and Disney+ (Star) in Canada.

SF Radio 8.20 Sacred Sexuality in PAM & TOMMY

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In the ‘greatest love story ever sold, Hulu’s Pam & Tommy tells the story of the theft and release of the celebrity couple’s sex tape back in the late 1990s. Beginning with the energy of a raunchy comedy, the series gradually shifts its perspective into something much more poignant and (dare I say it?) powerful in its conversations about gender and sexuality. This week, Amanda Jane Smith and Miriam Ibrahim return to have an honest discussion surrounding the nature of ‘gaze’ and the relationship between consent, sexuality and pornography.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad 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.

8.20-Pam-TommyDownload

Deep Water: Struggling to Stay Afloat

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The deeper you get into the water, the darker it gets.

Based on the novel by Patricia Highsmith (The Talented Mr. Ripley), Deep Water invites the viewer behind the closed doors of a marriage in trouble. Even though Vic (Ben Affleck) and Melinda Van Allen (Ana de Armas) seem to have the perfect marriage, their relationship is one of manipulation and infidelities. As she proceeds with her sexual dalliances, Vic sits and broods about his wife’s behaviour, potentially plotting his own revenge as well.

Directed by Adrian Lyne, Deep Water is the unsettling tale of a couple whose marriage has disintegrated entirely, leaving a strange blend of mind games in its wake. Reminiscent of his role in Gone Girl, Affleck’s brooding beast of a husband is an uncaring monster with revenge on his mind. (Whether or not he’s willing to act on his anger remains to be seen.) Since leaning into lighter roles early on in his career, Affleck continues to evolve as an actor. His dark, brooding sensibilities have established him as a strong performer (and even a strong Batman). In addition, a similar sentiment can be said for Ana de Armas. Whether hero or villain, de Armas brings a spark of life to any film that can elevate the material.

Unfortunately, it’s Deep Water’s script that sinks the film. As the director of Fatal Attraction and Indecent Proposal, Lyne is well-versed in the erotic thriller and left his mark upon the genre. However, in Water, the tension between Vic and Melinda is written in such a way that it’s potential secrets simply lack impact. As a result, although the film wants to emulate the darkest of romances, it becomes somewhat of a tedious affair that comes up short.

At its heart, Water emphasizes the ennui of the higher class. Living lives of endless parties, Vic and Melinda may be the social centre of their community but they have also lost every spark and ember from their relationship. Melinda gleefully engages in multiple affairs with Vic’s full knowledge of her infidelities. Although her flippant attitude towards their relationship eats away at his soul, Vic decides that he will never let her know of his feelings, leaving him simmering quietly with rage that increases with each man that enters their home. At the same time, his perceived indifference drives Melina even further away emotionally, as she argues that he is a man devoid of passion for her. (What’s more, its worth noting that the tension between them is hardly in secret. Well-known by all their friends and family, even their daughter is aware that something is wrong in their home.)

In this way, the toxicity within their home becomes a double-edged sword. Whereas they yearn for passion, it stems from rage. At the same time, by giving into their anger, the consequences would be dire. As such, there is a recklessness to their relationship that becomes all consuming. Interestingly, an illustration of this comes when Vic talks about his work. Although he has invented drone technology that could be used to benefit others, it’s used by the military instead. When pushed by a friend about its use, he simply shrugs off the moral implications of how his tech is being used, arguing that it’s not up to him. In this telling moment, Vic gives some insight into his views on ethical responsibility—and that same sentiment shapes his marriage.

For both Vic and Melinda, both right and wrong mean little if it gets them what they want.

In the end, while the film has potential, Deep Water struggles to stay afloat. Although the performances of Affleck and de Armas are fairly solid, a weak script keeps the film from capitalizin on its interesting premise.  

In other words, this Water simply dries out.

Deep Water is available on Hulu and Amazon Prime on Friday, March 18th, 2022.

Pam & Tommy: What are You Looking At?

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‘What are you lookin’ at?’

Taken from Hulu’s limited series, Pam & Tommy, this may seem like a simple, throwaway line but it actually asks a much deeper question about the way we view our celebrities and each other. Smartly written and executed, this is a show about power and control… and it all starts with the way we look at one another.

Set in the days just prior to the internet explosion, Pam & Tommy is based on the events surrounding the release of Pamela Anderson (Lily James) and Tommy Lee (Sebastian Stan)’s infamous sex tape. After a disgruntled contractor (Seth Rogan) steals the tape from their home, the intimate personal moments of one of Hollywood’s power couples became a global phenomenon that had everyone talking. 

Created by Robert Siegel, Pam & Tommy begins as an energetic heist series but becomes a powerful and poignant commentary on the destructive power of toxic masculinity. While there are moments where the narrative threatens to unravel into soapy madness, the performances by James and Stan are so convincing that they immediately pull the viewer back into the story. Together, their chemistry is palpable. The push and pull between them has an electricity that works in almost every moment they are together onscreen. 

As the violently erratic Tommy Lee, Stan is utterly unrecognizable and leans fully into the performance. However, its James who is absolutely mesmerizing. With each passing episode, James shows an increasing strength that is both powerful and compelling. Although she portrays Anderson with patience and grace, James fuels her with a quiet rage that simmers underneath. There is a fire and fury in her performance that demands attention. (Incidentally, while Tommy Lee has reportedly given the series his blessing, Anderson has declined to officially support it.)

Whether one realizes it or not, the release of Pam and Tommy’s sex tape was a game-changing moment in the way that our culture consumes both sexuality and celebrity. However, rather than use the series to satirize its subjects, Siegel and his team see this as an opportunity to deconstruct the damage caused by the male gaze. 

Admittedly, at the beginning of the series, the show feels imbalanced. For a show called Pam & Tommy, there’s a surprisingly heavy emphasis on Tommy over Pam in the first few episodes. As a result, it feels like the wrong story is about to be told.

But that’s part of the point.

What makes Pam & Tommy so interesting is that is more invested in putting our cultural obsession with sexuality on trial and, most specifically, the male gaze. As the series begins, there’s a heavy emphasis on the male perspective. Rand can’t handle working as Tommy’s contractor and wants to screw over the guy who was doing the same to him. Tommy’s career is struggling as the music scene transitions to a grunge market. Uncle Miltie makes fast money exploiting sexuality and sees an opportunity to do so at Tommy’s expense. From the outset, this very clearly a man’s world and they are taking the lead within it.

Because that’s what men do, right? Take control.

However, as Pam & Tommyprogresses, there’s a dramatic shift in the series’ voice. The presence of strong women directors like Lake Bell, Gwenyth Horder-Payton and Hannah Fidell behind the camera provide the necessary perspective to shape the show’s view of sexuality in a healthier manner. What’s more, James’ Anderson begins to move increasingly into the forefront and the conversation surrounding the toxicity of the male gaze becomes more prominent. Whether it’s Anderson’s producers on Baywatch or the way that their tape is consumed so rapidly, the harm caused by the oppressive masculine view is increasingly obvious. To them, Pam is little more than the sum of her features and it silences her voice. 

As such, the devastation by the release of the infamous tape is far deeper than making a few dollars. Made as a celebration of their love and for their eyes only, their tape became a weapon that was used against them. With each viewing, the tape reinforces the culture’s dangerous celebration of Lee as sexually powerful and criticism of Anderson as sexual property. Seeing their personal and private moments changes the way that the public values them.

At the same time, it’s worth noting that Pam & Tommy more than earns its R-rating, especially in the absolutely wild second episode. (After all, sexuality is core to the conversation here.) However, that more graphic content gradually disappears as the series takes its use of sexuality more seriously. In a show about exploitation, Pam & Tommy also wants to ensure that it does not become part of the problem.

In fact, what Pam & Tommy does so well is remind the viewer that this was a video that none of us were ever supposed to see. For example, as each man stares deeply at their screen to watch Pam & Tommy’s most intimate moments, the series leaves the monitors off to the viewer. We hear the tape—but we are not allowed to see it for ourselves. In a brilliant choice by the showrunners, the series keeps the viewer at a safe distance from the visuals. (In fact, the only times where the tape can be viewed at all are in moments when the couple watch it themselves.) The series never condemns the couple for making the tape but refuses to allow us to participate in watching it.

In many ways, it’s heart-breaking that the real Anderson has declined to sign off—or even comment—on the series itself. Perhaps the details of the events are incorrect. Perhaps they simply wanted to put this chapter of their lives behind them. Whatever the reason, her lack of involvement is somewhat of a shame. (And arguably bites back at the nature of consent as well.) Despite its pop-fueled energy, this depiction of Pam & Tommy never feels as salacious as it could have been told. 

If anything, it feels more like a public apology.

While the series never judges the industry itself, it makes a point of identifying the toxicity that is created when consent is ignored. Coming at a time when celebrity cellphone hacks are common and privacy is at an all-time low, Pam & Tommy suggests that the real poison in our culture comes when we choose the body over the soul. It acknowledges that Pam and Tommy are real people and, if anything, we are in the wrong for viewing them as any less. 

For all of these reasons, Pam & Tommy becomes much more than simply a dramatic representation of a sexual scandal. Showrunner Siegel and his team have instead used the trauma of one couple to explore problems that extend far beyond one tape or moment in history. Through Pam & Tommy, they remind us that what we’re looking at changes the way we see the world.

The first three episodes of Pam & Tommy stream on Hulu and Star+ on Wednesday, February 2nd, 2022 with new episodes following weekly.

How I Met Your Father: Back to Going Back in Time

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How I Met Your Father — “FOMO” – Episode 102 — Determined to try and live in the moment, Sophie and the gang head to an exclusive new club for a wild night out. Valentina has doubts about her relationship with Charlie. Sid pushes Jesse to be open to love. Ellen tries her luck with women at the club. Jesse (Chris Lowell), Sophie (Hilary Duff), Valentina (Francia Raisa), Charlie (Tom Ainsley), Sid (Suraj Sharma), and Ellen (Tien Tran), shown. (Photo by: Patrick Wymore/Hulu)

Spin-offs are hard to make work.

Still, that doesn’t stop us from trying. From That 80s Show to Joey and countless others, networks have tried for years to recapture the magic of their original series. In theory, it should work. Take an established setting and a character (or more) that’s already beloved, set them up with a few new pieces and let the series take off. Yet fondness for the characters and humour from the original often taints our willingness to accept new people in the world that we once loved. Either expectations are too high or it simply feels repetitive.

But then there’s How I Met Your Father.

Using the same devices as How I Met Your Mother, How I Met Your Father unashamedly leans into the IP established in the original. Nostalgic reminiscing as a storytelling device? Check. A diverse cast of quirky characters who try to navigate love in New York? Absolutely. (In fact, the premiere even sees the introduction of a very familiar apartment.) However, unlike many series who have failed before it, Father is an absolute joy, largely due to the strength of its cast.

How I Met Your Father — “Pilot” – Episode 101 — After a slew of let-down Tinder dates, Sophie meets the seemingly perfect guy. Meanwhile, her roommate, Valentina, returns home from London Fashion Week with a sexy souvenir. An Uber-related phone mishap leads them to an eclectic new group of friends. Charlie (Tom Ainsley), Sophie (Hilary Duff), and Valentina (Francia Raisa), shown. (Photo by: Patrick Wymore/Hulu)

Set in the near future, How I Met Your Father introduces us to Sophie (Kim Cattrell) as she decides to tell her adult son the story of how she and his father came together. From there, the series travels back to 2022 as the younger Sophie (Hilary Duff) attempts to navigate the New York dating scene. Plagued by bad Tinder dates, games of broken texts and other romantic misfires, Sophie and her group of friends try to figure out who they are and what they want out of life together.

With a solid cast, the series has absolutely scored with a modern mixture of characters and possibilities. Led by the charisma and sweetness of Duff, each cast member brings their own unique pop to their performances. Whether it’s Tien Tran’s frantic energy, Francia Rasa’s sly street-smarts, Christopher Lowell’s humility, Suraj Sharma’s integrity or Tom Ainsley’s innocence, each member of the group feels like they have something to offer from the outset. Having said that though, the anchors of the series truly are Duff and Raisa. As best friends Sophie and Valentina, the two women have solid onscreen presence and are genuinely fun to watch together.

How I Met Your Father — “FOMO” – Episode 102 — Determined to try and live in the moment, Sophie and the gang head to an exclusive new club for a wild night out. Valentina has doubts about her relationship with Charlie. Sid pushes Jesse to be open to love. Ellen tries her luck with women at the club. Sophie (Hilary Duff) and Valentina (Francia Raisa), shown. (Photo by: Patrick Wymore/Hulu)

However, it’s worth noting that the starkest difference within Father lies in its racial and gender inclusivity. Whereas the Mother primarily focused on the lives of five white adults, Father does a far better job of showcasing the diverse population of New York. In other words, although the framing of the narration is through Sophie’s eyes, the series does its best to balance the variety of voices and experiences that make up the city. (In fact, it’s worth noting that, whereas Mother focused the storytelling on the kids, Father only shows the older Sophie. In doing so, the narrator never gives away any clues to the ethnicity of the unknown father through the identity of their inevitable child together.)

As with the original, the charm of Father’s premise lies in the fact that the dramatic events of Sophie’s past often feel more significant in the moment than they do in the future. By narrating the story (technically) through flashback, Sophie is able to gain a new perspective on her life. In essence, while we know that, ultimately, Sophie is going to form a meaningful connection with the mysterious ‘father’, younger Sophie has no such assurances. Just like Sophie, the dating misfires and relationship problems of our youth may have taken on massive significance to us in the moment. However, when we look back on them, those moments often help lead to something much better. As such, through this format, the viewer automatically starts with a certain sense of hope. No matter what she goes through, we know that Sophie is going to be okay. Although she’s struggling, the events of her youth have not defined her in the present, no matter who the ‘father’ turns out to be.

How I Met Your Father — “Pilot” – Episode 101 — After a slew of let-down Tinder dates, Sophie meets the seemingly perfect guy. Meanwhile, her roommate, Valentina, returns home from London Fashion Week with a sexy souvenir. An Uber-related phone mishap leads them to an eclectic new group of friends. Valentina (Francia Raisa), Sophie (Hilary Duff), and Charlie (Tom Ainsley), shown. (Photo by: Patrick Wymore/Hulu)

There’s peace in that assurance.

So, even though How I Met Your Father may be going back to a familiar setting and style, it’s possible that this spin-off may just succeed where others have failed. Certainly, there’s enough charm amongst its cast to bring me back again for another trip into the past.

The first two episodes of How I Met Your Father stream on Hulu on Tuesday, January 18th, 2021, with new episodes arriving weekly.

Mother/Android: Love and Light in the Darkness

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Mother/Android — Set in the near future, MOTHER/ANDROID follows Georgia (Chloë Grace Moretz) and her boyfriend Sam (Algee Smith) through their treacherous journey of escape as their country is caught in an unexpected war with artificial intelligence. Days away from the arrival of their first child, they must face No Man’s Land – a stronghold of the android uprising, in hopes of reaching safety before giving birth. Georgia (Chloë Grace Moretz), shown. (Photo by: Seacia Pavao/Hulu)

“Do you think it’ll ever be normal?” “No, but I think it can still be good.”

Set in the near future, Mother/Android takes a familiar premise and makes it feel entirely fresh. While stories about robot uprising are far from new in the science fiction world, the execution of the story is particularly well told. Directed by Mattson Tomlin (Little Fish) and produced by Matt Reeves (War of the Planet of the Apes), the film is an emotional journey with multiple layers that works surprisingly well. Fueled by strong performances across-the-board, Mother/Android is simply solid sci-fi storytelling. 

In Hulu’s latest sci-fi entry, Mother/Android tells the story of Georgia (Chloe Grace Moretz), a young woman who has just discovered that she’s pregnant. As she and her boyfriend Sam (Algee Smith) discuss their options and future, a sudden noise pierces the air and their robot servants embark on a murderous rampage. As the world spirals out of control Georgia and Sam set out on a journey to find safety from the android revolution before she gives birth.

Mother/Android — Set in the near future, “Mother/Android” follows Georgia (Chloë Grace Moretz) and her boyfriend Sam (Algee Smith) through their treacherous journey of escape as their country is caught in an unexpected war with artificial intelligence. Days away from the arrival of their first child, they must face No Man’s Land – a stronghold of the android uprising, in hopes of reaching safety before giving birth. Georgia (Chloë Grace Moretz), Sam (Algee Smith), shown. (Courtesy of Hulu)

Visually, light plays a key role in the film’s aesthetic and storytelling. Beginning with a bright and festive palette, the quickly gives way to bleaker, cold colors that drain all life from the screen. As such, when light breaks through, it becomes extremely noticeable. Whether it’s the warmth of a hospital bed or beads of bright neon green, Tomlin uses bright lights to symbolize hope. In these moments, Tomlin uses light as signs that shine in the darkness and reconnect with the normalcy of the opening sequence. 

Mother/Android emphasizes the sacrifices that we make for our families and children. As a first-time mother, Georgia is willing to fight fearlessly both for her unborn baby and her partner, Sam. Both she and Sam have a relationship built on trust and they remain dedicated to supporting one another. Sam repeatedly reminds her that he ‘wants to protect her’. In some ways, it’s interesting that he uses that phrase as it feels like toxic masculinity and certainly Georgia is no ‘damsel in distress’. (Incidentally, Georgia responds strongly to that sentiment initially as she is not one in need of ‘protection’.) 

Mother/Android — Set in the near future, MOTHER/ANDROID follows Georgia (Chloë Grace Moretz) and her boyfriend Sam (Algee Smith) through their treacherous journey of escape as their country is caught in an unexpected war with artificial intelligence. Days away from the arrival of their first child, they must face No Man’s Land – a stronghold of the android uprising, in hopes of reaching safety before giving birth. Sam (Algee Smith) and Georgia (Chloë Grace Moretz), shown. (Photo by: Seacia Pavao/Hulu)

However, in this case, the sentiment goes both ways. The level of sacrifice required to keep their family together is met equally by both partners. He wants to protect her and she is willing to do the same. The deep love and passion that they have for one another is felt simply by the fact of what they are willing to keep the other safe. For example, without giving away any spoilers, there is one particularly harrowing set piece where one partner enters a building filled with vicious androids in order to rescue the other out of love. Shot with one single take, this moment in the film has an intensity to it that is palpable. With each movement, therein lies a potential threat to their life. Even so, the idea of leaving the other behind is simply unconscionable. 

At the same time, the film absolutely speaks to life in a pandemic reality. Set in a time where simply using a camera becomes a potential threat, the story is very much about surviving and thriving in the midst of the worst of circumstances. Though they’re alone and isolated in ‘no man’s land’, Georgia and Sam are committed to the idea that they will still succeed as a family. Although forced to live in fear, they are determined that love will help them make the best of things. (With this in mind, the camera takes on even greater significance.) This is not simply a story that is telling us to make the best of it but a story that suggests that this is not the end. Yes, the world may have changed but this will not prevent them from creating a loving home for their family. (If that does not strike a chord in the middle of our COVID world, I do not know what does.) 

Mother/Android — Set in the near future, MOTHER/ANDROID follows Georgia (Chloë Grace Moretz) and her boyfriend Sam (Algee Smith) through their treacherous journey of escape as their country is caught in an unexpected war with artificial intelligence. Days away from the arrival of their first child, they must face No Man’s Land – a stronghold of the android uprising, in hopes of reaching safety before giving birth. Georgia (Chloë Grace Moretz) and Sam (Algee Smith), shown. (Photo by: Seacia Pavao/Hulu)

Tightly written and featuring well-executed set pieces, Mother/Android really is something special. However, the film’s value lies beyond its intensity. Coming at a time when the world is in constant flux, Mother/Androidserves as a reminder that we can still find stability and hope. At a time when it feels like the world is changing constantly, sometimes it helps to be reminded that our ability to thrive as a species is not determined by our circumstances. After all, even if things aren’t normal, that doesn’t mean it can’t still be good.

Mother/Android streams on Hulu on Friday, December 17th, 2021.

Candified: Home for the Holidays – It’s a Marshmallow World in the Winter…

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Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! Jackie Sorkin, shown. (Photo by: Cory Osborne/Hulu)

The song may say it’s a ‘marshmallow world in the winter’… but I bet you’ve never considered how much work it is to create it…

Now streaming on Hulu, Candified: Home for the Holidays follows Candy Queen Jackie Sorkin as she and her crew undertake an impossible task: create a life-size house made of candy! With only 6 weeks to complete their assignment, Sorkin and her team of candy artists work tirelessly to design, melt, build and shape a home with all the trimmings. Using hundreds of thousands of individual pieces of candy in innumerable styles and shapes, this group battles the clock in an effort to reach their goal as a gift to the children of Boys and Girls Club of America. 

Anchored by the charm of Sorkin, Candified: Home for the Holidays is a light-hearted and tasty diversion for people looking for something sweet this season. With flashy fun, Sorkin and her crew dream and design some truly unbelievable designs in remarkably short time. Like other reality shows, the series is fueled by its characters. Whether it’s ambitious “#3” D. Micah or the ‘new girl’ Mandy, this team provides enough light-hearted drama that feels important… but not-earth shattering. (However, that’s not to take away from the incredible difficulty of their accomplishments. Seriously, it’s incredibly stressful building a penguin and fridge with such limited time and resources.) 

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

However, while the cast may be likeable, it’s Sorkin who keeps the show moving. Bounding around the screen with Wonka-esque enthusiasm, Sorkin is clearly thrilled to see her ability to ‘candify’ the world come to fruition. Professional and playful, Sorkin takes her candy seriously, especially since this event provides the opportunity to both help kids and grow her business in the process.

Unlike other bake shows that base their competition on taste, Candified takes a slightly different approach. Instead of devouring the final product, Sorkin’s team creates a sort of interactive playland with candy as its cover. While kids may not be able to taste the product, she absolutely encourages them to engage what they’ve built. 

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

And the results are extraordinary.

Whether it’s woven sour strips blankets or gummy chandeliers, Sorkin and her team seem to make jewels out of jawbreakers. With each bonbon and licorice string, they create some truly remarkable pieces that are good enough to eat. And, quite frankly, I believe that’s the point. Although the task to build out of candy may seem odd at first, Sorkin understands the childlike wonder in seeing her vision brought to life. There’s something inherently playful about moving through a house made of treats and truffles. Marshmallow pools, gummy-laced fridges and so much more absolutely sparkle with joy. 

Without question, Hansel and Gretel would be proud.

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

However, the true soul of the show belongs to the team’s ability to come together. As the series begins, squabbles over leadership structure and the sheer size of their challenge begin to weigh on them. As a result, cracks begin to appear in Sorkin’s squad. Even so, as the clock ticks onwards, they increasingly manage to pull things together as they focus on their common goal. Broken pieces, shattered statutes and improper implementation all may cause delays but they still push through. To them, this project is about far more than candy decorations or simply building their brand. This is an opportunity to support children in need. That collective vision fuels their enthusiasm and they are able to put aside the things that were dividing them. In this way, the series highlights that the importance of supporting others far outweighs their petty disputes and can truly bring people together in the process.

In the end, Candified: Home for the Holidays is truly a treat for the family. As Sorkin continues to ‘candify the world’ with her Midas touch, so too does she also spark joy in the hearts of those around her. With every gummi bear and sour candy, she and her crew have concocted something truly special that speaks to the power of working together but also lights up the senses.

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

Candified: Home for the Holidays is now playing on Hulu+.

The Voices of (Three) Generations: 1on1 with Rob Paulsen & Maurice LaMarche (ANIMANIACS)

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They’re Pinky and the Brain. One is a genius. The other’s insane.

Taken from their famed theme song, these simple words summarize the lovable relationship between the two animated laboratory mice from Hulu’s revived series, Animaniacs. Committed to taking over the world, the maniacal Pinky and the Brain have been beloved by millions since they first popped on screen almost thirty years ago. 

Beginning its original run in 1993, the rebirth of Animaniacs has meant that its unique brand of humour has impacted multiple generations of kids around the world. In light of this, voice icons Maurice LaMarche (‘The Brain’) and Rob Paulsen (‘Pinky’) are often amazed that these characters continue to endure and bring families together.

“It hit me at Comic Cons. I already knew that the generation that watched our show had hit their mid-thirties,” LaMarche points out. “It was when their little kids started pointing to Pinky and the Brain and wanting an autograph from them. And I’d ask, ‘how old is he?’ And they go, ’10’. I’d ask, ‘How does he know about Pinky and the Brain’? ‘Because I show it to him on the DVDs, the box sets, all of that.’ Now, we’re noticing that the dads that sat with their kids in the 90s are now the [grandparents] of the little kids who were asking for that picture with their kids. Three generations are standing in front of our tables at Comic Cons, asking for autographs. So, that’s kind of fun.” 

“That’s really unusual too,” chimes Paulsen. “I think the only other show I can think of that’s still in production is the Simpsons, where that would have happened. But we have gotten this incredibly glorious opportunity as a result of the stars aligning and Hulu. With a twenty-five year break in between, it’s so unprecedented to do it again, and then have all these world-class journalists talk to us about season two, and the show is now an unqualified hit again with an exponentially larger audience.”  

In light of their lasting legacy, it begs the question of what makes Pinky and the Brain such endearing characters? While their antics to take over the world are always hilarious, Paulsen argues that he believes it stems from the adorable relationship between the two characters.

“I think that what sets it apart for me is that it’s just a love story,” Paulsen explains. “Pinky and the Brain really love each other. I think one of the reasons that, um, that it translates pretty well to the screen is that life is imitated art. I love Maurice. We are the dearest of friends… So, if you’re going to be authentic, acting is acting. The whole idea is that you embody these characters. You don’t acknowledge the fact that it’s silly or otherwise. This is the truth. You are about taking over the world and supporting your guy, supporting the man (or the mouse) whom you believe has the best interest of the world at heart. Whether it’s nefarious or not is not, Pinky’s MO is that [he] believes that the Brain has the best of intentions and [he’s] going to do everything I[he]can to help him achieve his goal. Then, he hits [him] on the head for doing something stupid. So, that’s why I think they work together.” 

“It’s a show about a friendship,” LaMarche echoes. “It’s a show about what Peter Cook and Dudley Moore described as the ‘uninformed idiot and the informed idiot’. So, Brain, being the informed idiot who, though he is supposedly a genius, isn’t smart enough to know that a two-inch tall lab mouse that can’t possibly take over the world. So, he’s rendered harmless at that point. That’s another reason that people can get with him because they know he’s no danger. (Of course, setting aside the fact that he’s an animated cartoon.)” 

Thinking back to the very beginning, LaMarche notes that his voice for the character stemmed from the remarkable similarities in appearance to the great Orson Welles.

“The original design of Brain was very Orson Welles-ian and to the point that I actually, in my hubris, believed they’d created the character with me in mind,” LaMarche laughs. “I was notorious for doing Orson Welles whenever there was a break in recording so, I just thought, ‘Oh, they’ve created this Orson Welles lab mouse for me. The audition is a mere formality, my friend.’ So, I just laid down my Orson Welles, and then we went. He’s more angular now. I don’t know that I might’ve seen Orson Wells in there now and ergo, may not have ended up with the job. So, I’m glad we started it when we did.” 

With this in mind, Paulsen suggests that he also prefers the opportunity to bring his own unique take on the character, rather than attempt to meet the expectations of the director.

“For me, it was a six-week audition,” he continues. “I had five or six callbacks over a six-week period because it was a big deal. It was all a brand-new clean sheet of paper, lots of music. and it was a lot of ‘We’ll know it when we hear it’. To me, [that’s] a boon. I love it when a director or producer says ‘I want to hear your take on this and you give me what you got’. If somebody says ‘we’re very specific in what we want’, I can do my best but, if they’ve got it stuck in their head that no, that’s not getting close to what I want. I love it when I have a little control over what I can give them. When Moe walked into read for the Brain, once he opened his mouth and did Orson Welles, they were done… Had Mo not had the—he calls it hubris, I call it genius—but that ability to say, ‘Oh, wait a minute. I know what’s going to work here.’ He does it. Behind the glass, they just go, ‘Oh my God. All right. All the rest of you. Thank you very much.’ That’s what happens when you open it up to the actor’s interpretation.” 

Known for its boundary-pushing animation and style, Animaniacs has clearly found a new audience with its revival. Asked what he believes is the most exciting aspect of the series for him, Paulsen beams and immediately points to the series’ ability to remain self-aware and current with its humour.

“I love the fact that we’re self-aware and that we lampoon everybody, including ourselves,” Paulsen exclaims. “In fact, if you guys recall, in the revival’s… theme song, the first half is the old animation and the old lyrics. Then, it switches to the new stuff where we become self-aware. In fact, they even say ‘gender-balanced, pronoun-neutral and ethnically diverse. The trolls all say we’re so passe, but we did meta first’. That is freaking genius because it’s self-aware and right out of the shoot before one word of dialogue is spoken the theme son, lets you know what you’re in for? I find that really just so bad-ass really.”

Animaniacs is now available on Hulu.

To hear our complete conversation with Rob Paulsen and Maurice LaMarche, click here (YouTube) or here (audio).

Animaniacs: Long May Insaney-ness Reign

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It’s not supposed to work this way.

Beloved shows are cancelled all the time and, occasionally, get revived by other networks or sheer fan support. However, because of the passage of time, aging cast or simply just changing cultural trends, these shows are rarely as good as the original incarnation.

So, how is Animaniacs managing to meet the massive expectations of the original series and (maybe) even surpassing it?

First incarnated from 1993-1998, Animaniacs is the animated adventures of the Warner siblings, Wakko, Yakko and Dot, who live in the Warner Bros. Water Tower on the WB Studio lot in Burbank, California. In a collection of short cartoons, the Warners move through time, argue with network executives, battle monsters and try to get their email working properly. At the same time, the show also features characters like Pinky and the Brain, two laboratory mice committed every night to ‘trying to take over the world’ and others who are involved in their own silliness along the way.

Confused? That’s okay. They promise in the theme song that they’re ‘totally insane-y’.

Produced by Steven Spielberg, Animaniacs has always banked on the ridiculous in order to set it apart from other animated fare. For a series that disappeared almost 25 years ago, it’s remarkable that it remains as frenetic as ever. Sharply written and furiously executed, the show has maintained a sort of ‘timeless’ quality to its storytelling. Taking the most basic of premises (‘trapped in a movie studio’ and ‘taking over the world’), Animaniacs remains somewhat disjointed from any particular place and time. As a result, they have maintained the ability to adapt to the moment, blowing up the cultural icons of the time with satire and silliness. With ‘Chuck Jones-esque’ vitality, this remains a series that wants to bombard the viewer with as much humour as possible, making it easily re-watchable as well. 

Interestingly though, while it’s not unusual for animated fare to include pop culture references that skew towards adults, Animaniacs almost feels like it has taken the opposite approach. Leaning into allusions to Donald Trump, Oliver Twist and even 90s sitcoms such as Cheers and Fresh Prince of Bel Air, sometimes the show feels like its writing for parents as its primary audience. That’s not to say that it’s not appropriate for children. This is very much a children’s product with its eye-popping animation and physical humour. (In fact, both my 6- and 11-year old boys find the show hilarious.) Even so, the series’ emphasis on meta humour (they remind you that they did ‘do meta first’) and political references still seem more targeted to parents as opposed to little ones.

What’s always been interesting about Animaniacs is the role of the Warners themselves. As the show’s central characters, they have always exemplified pure, borderline anarchistic joy and fun. (I mean, the whole premise of the show is that they refuse to remain trapped in a water tower…) Shattering rules in the name of youthful playfulness, Yakko, Wakko and Dot exemplify innocence… in their own way. However, there’s a question that arises during season two that I’d never considered before.

Are they heroes?

Held up against the hilarious maniacism of Pinky and the Brain, the Warners seem to be the ‘good’ characters of the series. Even so, the Warners are not types to proclaim any sort of pious values or virtue that they’re ‘fighting for’. Ultimately, their primary concern seems to be… well… fun. However, in the Oliver Twist parody, there’s a moment this season where they are asked to join Fagan as pickpockets and Wakko refuses. (‘Stealing is bad,’ he proclaims.) Although, when Fagan ‘reframes’ it—they’re actually redistributing wealth—they’re willing to participate. To them, that makes sense… and the activity still feels innocent. They may not be intentionally trying to make the world a better place… but neither do they want to hurt anyone either.

In this way, maybe ‘heroes’ is too specific a term for the Warners. With childlike inexperience and enthusiasm, they’re trying to learn about the world and why the things that we value are important to us in the first place. Their ‘insany-ness’ stems from an innate desire to explore and bust down the social barriers that we’ve constructed around ourselves. To the Warners, spoiled children, Roman empires and spam folders are all just opportunities to ask questions and push boundaries. 

When others are asking ‘why?’, they’re simply going to ask ‘why not?’

The truth is that, regardless as to the Warners’ true motivations, Animaniacs continues to sparkle with an innate and infectious joy. Despite their age, the adventures of the Warners and misadventures of Pinky and the Brain show no signs of rust. With that in mind, although the series technically was rebooted with the intent to create two seasons, these chaotic cartoons still definitely have a lot of life left in them should they (hopefully) decide to extend the contract. Even if it’s not ‘supposed to work this way’, it’s definitely still working.

So, long may insaney-ness reign.

To hear our interview with co-executive producer Gabe Swarr, and voice icons Tress MacNeille and Jess Harnell, click here (YouTube) or here (audio)

To hear our interview with voice icons Rob Paulson and Maurice LaMarche, click here (YouTube) or here (audio)

Animaniacs returns on Hulu on Friday, November 5th, 2021.