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7.16 Freeing and FRAMING BRITNEY SPEARS

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

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

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

7.16 Framing Britney SpearsDownload

WeWork: Fake it Until You Make it

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Everybody wants to believe in unicorns. 

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

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

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

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

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

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

Most unicorns do.

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

Solar Opposites: Relaunching into Season Two

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

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

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

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

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

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

Solar Opposites Season Two is streaming on Hulu.

Boss Level: Groundhog Death

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Trapped in a never-ending time loop that always ends with his inevitable (and usually brutal) death, former special agent Roy Pulver (Frank Grillo) is beyond frustrated. Constantly hunted by contract killers, he has no idea why he seems to have a target on his back—or why he must keep reliving the experience. When he discovers that a secret government organization led by Colonel Ventor (Mel Gibson) seems to have the answers about his fate, he both must outrun the ruthless assassins who relentlessly pursue him and attempt to save his ex-wife (Naomi Watts) before the clock runs out… again…

Directed by Joe Carnahan, Boss Level is a ridiculous and free-wheeling cacophony of bullets, blood and bad guys that fires on all cylinders from start to finish. 

It’s also ridiculously fun.

Pumped up on 70s rock music, the film feels like the delicious result of throwing Groundhog Day, John Wick and Scott Pilgrim vs. the World into a blender and hitting the ‘puree’ button. Though the action is intense and graphic, this ‘ode-to-video games’ runs at full speed with a sardonic wink and never takes itself too seriously. Known for such actioners as Smokin’ Aces and The A-Team, Carnahan has made a career out of his ability to balance comedy and violence and that skill is on full display here. With every repetition, Carnahan understands that variations are needed to keep the audience interested and he make subtle tweaks in each encounter to show Roy’s growth and his increasing ability to defeat the endless parade of adversaries in his way. 

As the film’s central core, this is also a film that rests solely on the muscular shoulders of veteran actor Frank Grillo, who truly shines in the role of the loveable anti-hero. Though likely best well-known for his role as Crossbones in the Marvel films, Grillo has mostly languished away in B-movies and secondary characters for some time. While Boss Level may not necessarily be a high-profile film, it certainly provides him the opportunity to establish himself as a legitimate action star and he makes the most of his chance. Attacking the set-pieces with intensity, he exudes a mix of frustrated brokenness and rogue-ish charm here that shows the talent he truly possesses as a leading man. (If anything, the only disappointment in the cast is Gibson who, through no fault of his own, is given very little to do other than sit behind a desk and be ‘bad’.)

Revenge films can be somewhat ridiculous in nature—let’s not forget that John Wick is really about a man seeking vengeance for the death of his puppy—and Carnahan knows it. As a result, he leans into the playfulness of the gaming concept with a glee that we haven’t seen in his work for some time. Without an established IP or any particularly expectations of his audience, Carnahan manages to avoid the traps that so often hinder other ‘gaming’ films and simply lets the viewer enjoy the ride. With green pixelated graphic cards, increasing ‘leveling up’ for our hero and wild character physicality, Boss Level fully understands the digital world that it seeks to emulate and it does so with enthusiasm. Violent, irreverent and repetitive, each victory feels like an accomplishment, even if it usually results in Ray’s death with a more difficult adversary. (In fact, the film feels so much like a video game that one almost expects to hear a voice-over to demand that he ‘finish him’ as each boss is defeated.) 

Even so, underneath the gunshots and swordplay, it’s worth noting that Boss Level does have a soul. While his endless ‘respawns’ help him learn how to defeat his foes, his character begins to recognize that revenge feels incomplete. Having lost the woman he loved and their son due to his past mistakes some time ago, there’s a sadness that plagues Ray. Even though his bloody vengeance provides an outlet for his rage, it is unable to fill the void in his soul. As a result, without giving any spoilers, there comes a point where Ray recognizes that the best use of his repetitive life is to level up as a person, as opposed to his warrior skills. This shift in perspective also allows him the freedom to recognize that the nature of true victory in this world of never-ending bloodshed lies in the relationships that we have as opposed to the bosses we defeat.

With a refreshing sense of silliness and fun, Boss Level is an entertaining night for any action fan. Carnahan and Grillo have created a world that carries an old-school gaming mentality yet never loses its humanity. Underneath the violence and insanity, there’s a beating heart to the film that keeps it from losing its way. 

So, put my quarter on the bottom of the screen. I’m ready to play again.

Boss Level streams on Hulu on Friday, March 5th, 2021.

The United States vs. Billie Holiday: Keep Singing a New Song

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Just don’t sing the song.

That’s the advice given to legendary singer Billie Holiday regarding her iconic single, ‘Strange Fruit’. Set against the backdrop of the pre-Civil Rights Movement era, Holiday’s heartfelt song the challenged the practice of lynching African-Americans became a lightning rod of controversy for the federal government out of fear that it could cause civil disturbances. Now, in Lee Daniels’ latest film The United States vs. Billie Holiday, Holiday’s ongoing battle with the FBI is on full display, showcasing the unique courage of an icon and the incredible pressure that she was under to conform.

Beginning in 1940s, the film follows Billie Holiday (Andra Day), the world-class singer of such hits as All of Me and Blue Moon who became the target of the federal government due to her powerful ballad, ‘Strange Fruit’. Although she was arrested as a part of the FBI’s escalating war on drugs, their ultimate goal was to prevent her from performing the controversial song out of fear that it may begin to bring (much-needed) social change.

Passionate and effective, The United States vs. Billie Holiday is a testament to the resilience of a cultural icon at a time of oppression. Though the film is a bit of a slow starter, Daniels’ skill as a storyteller shines as the narrative draws you in along the way. Resisting the chance to portray Holiday solely as an American hero, Daniels gives balance to the starlet by displaying her flaws as well. Plagued by addiction and abusive relationships her entire career, Daniels shows grace to Holiday as a woman who has been taken advantage of since childhood yet never fully justifies her decisions either. Instead, Daniels fully fleshes out the humanity of a woman who struggled with her own personal demons yet also sought to be an example to a people who needed her unique voice.

While the film features solid performances across the board, it’s Day that positively lights up the screen as the titular songstress. Though only her second major acting role (Marshall), the Grammy-nominated singer/songwriter absolutely owns the role of Holiday. Despite being central to almost every scene, Day remains fascinating to watch throughout the film. In many ways, Holiday was a complicated woman who commanded the stage to the public yet carried the burdens of her past in private. With this in mind, Day imbues the character with a complex mix of strength and fragility that somehow makes her feel authentic.

Set a decade before the Civil Rights Movement really began to take shape, the film focuses on the fervour surrounding Holiday’s famed, ‘Strange Fruit’. By calling attention to the horrific practice of lynching through her music, Holiday became viewed by the government as a threat that could upset the [read: their] status quo. To them, Holiday’s music created a conversation that they simply did not want to have for fear of seeing the current power structures change. 

But the film points out that, ultimately, the song was not their problem.

Though other Black artists were deemed ‘acceptable’ due to their willingness to ‘play by the rules’ of the time, Holiday’s self-confidence and courage set her apart. As such, the greatest threat to the powers of the time may not have even been her music but her staunch defiance as a Person of Colour. (“You’re scared of her because she’s strong, stunning and Black,” says FBI informant, Jimmy.) While the song may have been the lightning rod, it was Holiday’s determination to sing it despite their pressure that caused the greatest issue for the FBI. Despite increasing pressure (and numerous set-ups) to simply ‘stop playing the song’, there was a bravery inherent to Holiday’s character that is put on display here. To Holiday, ‘Strange Fruit’ was a cry for justice. She understood that the song was important to the Black community so she remained unwavering in her intent to sing it. 

When the government wanted to force her into their mold, she refused. And they couldn’t handle it.

In this way, The United States vs. Billie Holiday portrays Holiday as a person of passion and self-awareness. Though her personal struggles weighed heavily on her, she understood the power and influence that she carried with those who were willing to listen. At a time when many were being silenced, Daniels shows the starlet as a woman who was unafraid to speak up (or, more specifically, sing a different song) at a time when it was needed most.

The United States vs. Billie Holiday is available on Hulu on Friday, February 26th, 2021.H