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

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

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

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

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

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

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

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

Vacation Friends: Real Friends v. Vacation Friends

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What happens on vacation doesn’t always stay on vacation.

Vacation Friends tells the story of Marcus and Emily (Lil Rel Howery and Yvonne Orji), a straight-laced couple from Chicago going on a romantic vacation to Mexico. When a mishap leaves them without a room, the two must spend the week sharing a room with wild, thrill-seekers Ron and Kyla (John Cena and Meredith Hagner). Even though they’re fairly level-headed, Marcus and Emily let loose. (After all, they are on vacation…) But, as they leave Mexico, they also have every intent of leaving the craziness (and their friends) behind to resume their lives. However, when Ron and Kyla show up uninvited to their wedding, Marcus and Emily must navigate whether or not their ‘vacation friends’ are actually their real friends.

Going straight to streaming, Vacation Friends is a silly and raunchy comedy that works, despite its flaws. The first feature directed by Clay Tarver, Vacation feels like it could have been a much wilder ride, yet somehow seems familiar (and even predictable in places). In some ways, Tarver seems to be holding back, despite the film’s R-rating and its move to streaming where box office revenue becomes less of an issue. 

Even so, despite its perceived flaws, there’s a lot more to like about this Vacation than you might expect. While the film itself is a fairly standard comedy, the material works primarily due to the strength of all four of its leads, especially Cena. This summer, Cena is having something of a moment with roles in two other major films (Fast 9, The Suicide Squad) in addition to this project. Whereas those films primarily focus on his viability as an action (super)hero, Vacation Friends highlights his often-underappreciated gift for comedy. Even in moments when the material is lacking, Cena’s smarmy charisma somehow continues to sell it. With Howery giving his all as Cena’s straight-man, the two have some genuinely fun moments together as the tw forced friends begin to genuinely care for one another.

Whereas Marcus and Emily may live organized ‘grown up’ lives at home, their world is shaken by the arrival of Ron and Kyla. Although they may be successful, Marcus and Emily have few meaningful relationships with others. Living their lives by their schedules, the two have built their lives around well-organized plans and clear boundaries. When they meet Ron and Kyla at the resort, there is something appealing about their free spirits, even though they wreak havoc upon their lives. 

As a result, Marcus and Emily reluctantly allow their lives to change temporarily. 

But when they get home, their expectations are different.

For Marcus and Emily, vacation may be a time to play but their ‘real lives’ are based upon professionalism and appearance. As a result, when they run into Ron and Kyla again threatens everything about their ordered lives, especially when it comes their impending wedding. But it’s in these moments that Vacation really surprises. Whereas one might expect that the film is going to hammer down its message about ‘lightening up’, instead the story is really all about the hearts of its characters. 

Despite their brash exterior and wild antics, the true joy of Ron and Kyla lies in their commitment to friendships. To them, friendship is more than a statement but something that truly matters. Their hearts are truly open to serve and care for their friends. Held up against the more reserved Marcus and Emily, Ron and Kyla demonstrate what it means to see past people’s exteriors and love them for who they are at their core. Though they have no personal boundaries, there’s an earnestness about Ron and Kyla that makes them endearing and shows their new friends what it truly means to care for others.

Wacky, wild (and sometimes wonky), Vacation Friends wins you over by the strength of its performances. Anchored by the energetic Cena and friends, the film manages to charm you enough to make this worthwhile. In other words, even though it may not be a perfect Vacation, it’s still one worth taking.

Vacation Friends is available on Hulu and Star+ on Friday, August 27th, 2021.

Nine Perfect Strangers: Everybody has a Story

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Based on the New York Times best-seller by Liane Moriarty, Nine Perfect Strangers is set at an elite health and wellness resort in the mountains of California. For 10 days, nine clients are selected to join guru Masha (Nicole Kidman) for a time of inner healing and transformation. Stressed out from the burdens of urban life (and life in general), the strangers gather together to find hope and healing for their tired minds and bodies. However, as Masha’s methods become increasingly invasive and personal, so too must her clients decide if the treatment is worth the potential cure.

Nine Perfect Strangers is a weird and wild exploration of the darkness that we all keep underneath the surface. Directed by Johnathan Levine, the series seeks to deal with the psychology of trauma (and the traumas of psychology). Set amidst the stunning backdrop of Australia (subbing for California), Strangers highlights the tranquility of nature yet also uncovers the turmoil from urban life. In essence, despite the serenity of the surroundings, Levine’s uses the personal struggles of his characters to swirl within them with a chaotic rage.

Certainly, there are aspects of the series that simply don’t work. For example, without giving any spoilers, a twist that begins to explain why characters are having their spiritual encounters is particularly strange (and unethical) to say the least. Even so, despite its flaws, Strangers strangely keeps you watching. Build upon an intriguing premise and mysterious setting, Strangers operates on a slow build that unravels its secrets at the right pace.

In some ways, Strangers is reminiscent of ABC’s classic drama Lost, a series which also balanced psychological and mystical components. When most people remember Lost, they usually focus on elements like the ‘smoke monster’ or ‘the hatch’. However, that was not what made the show work so well (and arguably what killed the series). Instead, the most intriguing aspects of that show were always the backstories of its characters and their influence on the present, rather than the more supernatural elements that influenced events. The real story to that series was watching people deal with the tragic events of their past and thankfully, Strangers also keeps its eye firmly on its characters.

While not all nine strangers receive equal investment from the script, there’s something fascinating about their individual arcs and performances that makes this a compelling watch. Strong chemistry between Melissa McCarthy and Bobby Cannavale make them an intriguing ‘will they/won’t they’ couple. A surprisingly muted but enthusiastic performance by Michael Shannon adds to the complexities of his family’s compelling backstory. Even Nicole Kidman’s Masha maintains enough mystery in her own flexible morals to keep the viewer interested. 

And Kidman’s Masha really is the lynchpin to the series. As the evil (or is she?) mastermind to the resort, Masha is portrayed as both guru and maniac. Although she is more than willing to play fast and loose with the emotional well-being of her clients and staff, there also appears to be a method to her madness that somehow makes her seem disarming. Having specifically chosen her applicants based on their psychological profiles, Masha uses their traumas in ways to play them off of one another in their own journey towards healing. Although their arcs are entirely separate from one another, Masha sees aspects within them that helps both expose their flaws and enhance the healing of others.

In this way, Strangers emphasizes the importance of the fullness of everyone’s story. Each one of the resorts clients have come to this space in desperation, looking for some form of hope. Driven by secrets that remain buried deeply within them, their sufferings have crushed their spirits. Broken and battered by the pain of life, every character sees this resort as their last resort as they attempt to come to grips with their own inability to achieve the perfection that they expect of themselves. However, although they could not be more different, each of their stories remains important and valuable. 

As their internal wounds are exposed by Masha’s bizarre teachings and tactics, so too are they able to face the pain which has plagued them for so long. As such, the purpose of this retreat is not merely to tell them that ‘everything will be okay’. Instead, it is about owning their darkness as an important part of their journey and accepting the truths that they deny. For Masha, hope lies in our ability to face our darkness and own it.

To her, healing is about wholeness and hurt has its place within that.

Wild and mysterious, Nine Perfect Strangers is far from a perfect series. Admittedly though, its strong performances and enigmatic atmosphere make it a compelling watch. While Masha’s methods may border on a lawsuit at times, so too does she prove that these strangers do not need to be perfect. They merely need to understand themselves more fully in order to find peace.

Nine Perfect Strangers is available on Hulu on Wednesday, August 18th, 2021.

Homeroom: Look Who’s Talking

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There are more voices than I can count these days. And honestly, I’m sitting here thinking through this piece but heavily distracted by those voices. On the day I sent my son to his first day of kindergarten, parents concerned about mask requirements protested at the school board building – that is next to the county-wide preschool and kindergarten. Now, I don’t have a problem really with protesting, but I do when it’s on school property and it disrupts an environment meant to feel safe and welcoming, especially for young children going to school for the first time. And I do when someone says their intent is to be a voice for children, but they are simultaneously speaking over those children. 

I’m not sharing that to start a conversation about a topic like masks or protesting, but I’m sharing it because later that day, I watched Hulu’s documentary Homeroom, a film that delved behind the scenes of graduating seniors in the Oakland Unified School District. How do these connect, you may ask? Because one aspect of this film was about voice, and the problems that arise when adults ignore the words of their youth. 

Denilson Garibo and Mica Smith-Dahl are the spokespeople for the 36,000 students across the Oakland Unified School District. They are passionate, informed, and weary of the uphill battle. And rightfully so. Amidst budget cuts, the tragic murders specifically of Breonna Taylor, George Floyd, Ahmaud Arbery, and an incoming pandemic, Garibo and Smith-Dahl work tirelessly to present a unified voice to the ones in power. 

The largest initiative on their plate? Getting approval to dissolve the police presence at OUSD. Oakland is the only school system with its own police force, with a budget of over $2 million dollars. So while board members are looking for ways to cut funding, the students ask for one thing – give us our freedom, and cut the budget that goes to school district’s police force. 

The poise that these two individuals maintained throughout a tumultuous year continues to astonish me. They knew their battles. They knew when to speak up and when to sit back, aware that their every word and move was under the microscope of the “leaders” who would either back them or reject them. They wore the burden of representation while worrying about SAT and ACT scores, filming TikTok videos, watching the news, and everything else that senior year entails – but with the added weight of protests, hope for reform, and a deadly virus upending all of our lives. Teenagers. Seventeen and eighteen years old. And they didn’t back down until they won.

A still from Homeroom by Peter Nicks, an official selection of the U.S. Documentary Competition at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Sean Havey. All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or ‘Courtesy of Sundance Institute.’ Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

From beginning to end, Garibo and Smith-Dahl had to fight to be heard. They sat and waited while adults screamed over each other, drowning out the voices of the youth whose future was the very question of the conversation. They grieved as leaders who had committed to work with them seemed to falter and back down at crucial times. They trudged through racism and disrespect. But they never lost sight of their purpose, and found ways to come together as a class to move the needle into a direction of hope.

I don’t think we give the younger generation enough credit. Our children have a voice that we need to hear. Too often adults claim to speak on behalf of younger people when in reality we’re mainly speaking over them. Or we use their “needs” to push our own agendas. We say “we hear you, but…” and with one word, dismiss their pleas. These younger generations will not be silenced. And they shouldn’t be. It’s up to us to amplify those voices and give them the platform to tell us what they need. We place so much expectation on our children. Homeroom shows us just how heavy those expectations are, and yet we don’t want to yield the microphone to the ones who are directly impacted by racism, who have a vision for their future, who don’t want to give up, who are supporting their families, who are sifting through endless information, who worry about a pandemic, and who are just trying to graduate. And then we want to tell them to be quiet when they speak up and out? I’m not tracking with that.

And so my question to anyone reading this is: are we really speaking for our children, or are we speaking over them? Because if I take away one thing from this film, it’s that there are times when I need to sit down, shut up, and let this generation take the stage. 

Homeroom is available for streaming on August 11th, 2021.

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.