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8.12 Behind the Image in THE POWER OF THE DOG

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In Jane Campion’s THE POWER OF THE DOG, Benedict Cumberbatch plays gruff cowboy, Phil Burbank. After his brother returns with a new wife and son, Phil does his best to put on a show of toxic masculinity and dominance, even as his conflicted soul suffers underneath. This week, Seeing & Believing‘s Kevin McLenithan and author Wade Bearden stop by to talk about hiding behind the image and showing our dark side.

(Note: This episode was recorded as part of our ‘Best Movie Moments of 2021’ and re-edited as a standalone. You can watch our Top Movie Moments episode here.)

You can watch the episode on YouTube and 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.

8.12-The-Power-of-the-DogDownload

Cobra Kai S4: Mixed Martial Arts Still has Magic

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Cobra Kai. (L to R) Ralph Macchio as Daniel LaRusso, William Zabka as Johnny Lawrence in Cobra Kai. Cr. Curtis Bonds Baker/Netflix © 2021

Nostalgia can only last for so long… unless you can make it into something different.

Originally airing on YouTube Red and eventually making the jump to Netflix, Cobra Kai caught everyone by surprise. The re-imagined and reinvented sequel series to the classic Karate Kid movies offered a refreshing new direction for characters long forgotten by pop culture while unabashedly leaning into the nostalgia that the brand promised. As the series took off, Cobra Kai became its own successful ‘comeback kid’ narrative and has only grown in popularity.

Even so, after three solid seasons, one wonders how long Cobra Kai can keep up the Miyagi-magic. After all, one has to assume that the series’ trademark shifting alliances, teen drama and karate tournaments can only remain interesting for so long. However, while Season 4 continues to offer all of these staples of the franchise, Cobra Kai is still very much alive and kicking. 

In fact, the fourth season may actually be one of the series’ best.

Cobra Kai. William Zabka as Johnny Lawrence in Cobra Kai. Cr. Curtis Bonds Baker/Netflix © 2021

The new season of Cobra Kai picks up immediately following the merger between Miyagi-Do and Eagle Fang as they join forces to bring down Cobra Kai at the All-Valley Under-18 Karate Tournament. With the doors to their respective dojos on the line, Johnny Lawrence (William Zabka) and Daniel LaRusso (Ralph Macchio) are determined to see John Kreese’s (Martin Kove) violent teachings disappear from the community. However, as their alliance proves to be more precarious than they’d expected, the two must decide whether or not they can bury the decades-long hatchet that lies between them.

As I said earlier, nostalgia is key to the appeal of Cobra Kai and Season 4 is no different. By recruiting former Karate Kid III baddie Terry Silver (Thomas Ian Griffith), the series further fans the rivalry flames of old by reuniting him with the villainous Kreese. However, what makes Kai work is that the series is not limited by the memories. Young characters like Robby Keene (Tanner Buchanan), Samantha LaRusso (Mary Mouser) and of course, Miguel Diaz (Xolo Mariduena) continue to be given meaningful character arcs that keeps the show young and energetic. What’s more, new stories for Daniel’s son, Anthony and Cobra Kai’s newest student Kenny (Dallas Dupree Young) also provide fresh ground for character development.

Cobra Kai. Thomas Ian Griffith as Terry Silver in Cobra Kai. Cr. Courtesy Of Netflix © 2021

Nevertheless, even though the youth remain central, the true magic of Cobra Kai remains the relationship between Zabka and Macchio. While Macchio continues to develop as an actor, Zabka may be one of the more underrated actors on television right now. Blending brokenness and honesty, Zabka continues to offer remarkable performances as the would-be sensei. In every scene, he remains absolutely captivating to watch, whether he’s attempting to navigate the modern world or manage his own flaws. For a character that began as a one-off teen bully, Zabka has infused his performance with nuance and grace that continues to surprise. Although both men may be well into their middle-age, their boyish banter provides the necessary emotional core that the series needs. 

These are two men who have become adults yet neither has fully grown up.

However, that’s not to say that they remain immature. Although Johnny keeps his old school edge, he has clearly matured since we first met him. Originally somewhat brash and self-absorbed, Daniel LaRusso is displaying an openness and humility that represents responsibility. Through solid performances by both men, these are characters who continue to learn what it means to be men in the modern world togehter.

Cobra Kai. (L to R) Khalil Everage as Chris, Gianni DeCenzo as Demetri, Jacob Bertrand as Eli ‘Hawk’ Moskowitz, Aedin Mincks as Mitch, Xolo Maridueña as Miguel Diaz, Mary Mouser as Samantha LaRusso, Nathaniel Oh as Nate, Owen Morgan as Bert in Cobra Kai. Cr. Courtesy of Netflix © 2021

Held up against the heavy darkness of the previous two season finales, the next chapter of the series is surprisingly light-hearted (at least in the beginning). By attempting to merge together Miyagi-Do and Eagle Fang, the writers have ample opportunities for comedy between the two conflicting styles. (One episode where Johnny and Daniel attempt to teach each other is particularly noteworthy.) Of course, as Eagle Fang and Miyagi-Do begin to work together, their conflicting styles makes it difficult to find a common ground. However, when they do begin to listen to one another, the blend of styles creates something unique, with group each gaining strength from the other. 

In this way, the focus of the new series offers something different than previous seasons. Whereas Cobra Kaimost often drew its battle lines over the very different teachings of the two dojos, this new season serves as a reminder that we can learn from one another. As students from Miyagi-Do and Eagle Fang attempt to understand the wildly different ideologies and adapt their styles, the results are stark contrast to the focused (but violent) teachings of Kreese. In Kreese’s ‘strike first’ mentality, his way becomes the only way. Any show of mercy or attempt to question his methods is met with rejection and disgust. However, as Johnny and Daniel (try to) work together, their conflicting styles manage to bring out the best in one another. In the Eagle Fang/Miyagi-Do merger, the mutual willingness to humble themselves is what allows them to grow beyond the limits of one particular teaching. Whereas Kreese demands compliance, Johnny and Daniel want their students to learn from one another.

Cobra Kai. (L to R) Xolo Maridueña as Miguel Diaz, William Zabka as Johnny Lawrence in Cobra Kai. Cr. Courtesy of Netflix © 2021

Perhaps this season of Cobra Kai suggests that the true villain is rigidity.

With its unique blend of fun and ferocity, Cobra Kai still packs a punch. Beginning with a simple tale of one young man’s search for courage, Zabka and Macchio have genuinely turned this into something special. Well-written and executed, this is now a series that’s about so much more than karate tournaments. Amazingly, Cobra Kai is about redemption, character and humbly bringing people together. 

So, bring it on, Netflix. I know that I’m certainly ready for the next round.

Cobra Kai: Season 4 streams on Netflix on Friday, December 31st, 2021.

The Summit of the Gods – An existential “why?”

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Why do people (now a few thousand) climb Mt. Everest? George Mallory (who may or may not have been the first to reach the summit) famously answered the question by saying, “Because it’s there.” But there has to be more to it than that. Mountaineering is a dangerous, often lethal, activity. In The Summit of the Gods, directed by Patrick Imbert, the question of why someone may focus on a near impossible task is central.

This beautifully animated film is based on a manga series by Jirô Taniguchi, which was in turn based on a novel by Baku Yamemakura. When the manga series reached Europe many years after their original publication, they came to the attention of a French producer who started the process of making this film. (Which explains why the film features Japanese characters speaking French.) The animation creates a world of majestic and awe-inspiring mountains, as well as tense, exciting climbing sequences.

The story starts with Fukamachi Makoto, a photojournalist who has gone to Everest to get shots of Japanese climbers, when their attempt fails, he wonders what the point is off all this. But in a Kathmandu bar, he sees a camera that is reputed to have belonged to George Mallory. He later sees Habu Jôji, a climber who no one has heard from for years, with the camera. The idea that it is Mallory’s camera and could answer the question if he and his climbing partners had reached the summit becomes an obsession for Fukamachi, who begins to seek out Habu.

As the story progresses, it shifts from time to time to give us more information on Habu and the accidents that have shaped his view of climbing. He is very aware of the dangers of any mountain, but especially Everest. Fukamachi finds him as he’s preparing a solo ascent of the Southwest face, a particularly difficult climb. Fukamachi sets up at the basecamp and awaits Habu, planning on documenting his ascent.

Both Habu and Fukamachi are obsessed: Habu with doing something no one has done, and Fukamachi with finding Mallory’s camera. We might think of Fukamachi as something of Ishmael to Habu’s Ahab. The question of why they are doing this is always in the background. But it also becomes explicit. There is a point where each man asks the other, why they are there. Another question is why the summit matters more than life itself.

Each man has his own reasons, but it brings them both to the same place. They have each chosen a focus that they hope will heal an existential angst within them. So they come to believe that whether they survive or not is of less importance that what they are doing. They are committing their lives (and possibly their deaths) to their obsessions. The amazing vistas the animation creates serve to add even more depth to these philosophical ponderings.

The Summit of the Gods can be seen in select theaters and on Netflix.

Photos courtesy of Netflix.

tick, tick… BOOM!: Larson’s Love Letter to Life

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Time is always ticking away… but how we make use of it determines our impact on the world.

Set in 1990, tick, tick… BOOM! tells the story of Broadway legend Jonathan Larson (Andrew Garfield). Well before he created Rent, Larson was doing his best to stay afloat financially by waiting tables at the Moondance Diner while he works on his upcoming play, Superbia. Having poured his heart and soul into the piece for over eight years, Larson believes that this is finally going to be his big break. However, when his girlfriend Susan (Alexandra Ship) reveals that she has been offered a job in the Berkshires and wants him to join her, he is faced with a difficult decision. While he could follow the love of his life and get a ‘real job’, doing so would require him to essentially give up his dreams. However, if he continues to follow his passion, he would also lose the woman he cares about so deeply.

Directed by Lin-Manuel Miranda, tick, tick… BOOM! is a love letter to musical theatre and one of its legends in Jonathan Larson. Using Larson’s play of the same name as its base structure, tick, tick… BOOM! feels as much like a live performance as it does a dramatic representation of a young man’s life. While this year has seen many musicals disappoint this year (with possibly Miranda’s In the Heights as the exception to the rule), tick, tick is an absolute joy from start to finish. Featuring Larson’s incredible Broadway sensibilities in its music, it’s rather refreshing to have a musical offered by Miranda where he didn’t write the songs himself. While his style is generally stunning and incredibly unique, let’s not forget that there have already been three (!) films this year alone featuring his work on the soundtrack. With tick, tick, Miranda is allowed to relax and pour his energy into directing the cast and musical numbers. Underrated for his role as a director, Miranda makes almost every musical number pop with love and affection. Whether it’s Garfield dancing in his kitchen to turning their lowly diner into a Broadway stage, there is a joy embedded within this film which keeps it moving, even in its slower moments.

Having said this, particular attention must be given to Garfield himself. The former Spider-Man (but he’s totally in No Way Home, right?) is often forgotten for his incredible talent as an actor and 2021 has once again shown his range. As controversial figure Jim Bakker in The Eyes of Tammy Faye, Garfield fused his charm with a certain unease that never allowed you to fully trust him. Here though, he bursts on the screen with an infectious energy that we haven’t seen from him in ages. Although the musical numbers offer a certain sense of hyper-reality, Garfield still feels present and focused in each scene as Larson. As such, while the music and production design are impressive, it’s Garfield that ultimately sells the film simply out of his own sheer enthusiasm.

On the surface, tick, tick seems to be about the urgency of time. As his 30th birthday approaches, Larson agonizes about all the things in his life that he has yet to accomplish. Holding Sondheim’s career up as the gold standard, he remains frustrated by the fact that he has yet to leave his mark on Broadway. To him, the 30th year is almost too late to be seen as one of the voices who have changed the face of theatre and he wants to make an impact.

However, as the film unfolds, Larson begins to recognize that the most important legacy that he can leave lies in the hearts of those he cares about. Although he remains committed to his work, the lives of those around him matter more. Real-life pain such as cancer, HIV, crushing debt and more are changing the world of his dearest of friends who love him yet he cannot separate himself from the obsession of success. While the film doesn’t fully judge him for this decision (after all, we know how Larson’s story ends), so too does it remind us that the soul of our relationships far outweighs the sum of our creative output. In this way, while the time may be ticking away on our lives, the true legacy we leave stems from the people that we invest in along the way.

With pop and fervor, tick, tick… BOOM! may highlight the life of a man who rocked Broadway like few others had before him. However, the story stems far more personally. This is a film which connects Larson’s incredible creative output to his ability to find his soul in the love of others. While time may be marching forward, tick, tick shows that the greatest threat to our lives is not whether we see our name in lights. Instead, the greatest losses are the missed opportunities with those we care about.

tick, tick… BOOM! is now playing on Netflix.

Colin in Black and White: Proving them Wrong the Right Way

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Colin in Black & White. Colin Kaepernick as Colin in episode 104 of Colin in Black & White. Ser Baffo/Netflix © 2021

“Why am I the one who always has to prove them wrong?” 

This question hovers ominously over Colin Kaepernick’s bold and beautiful biographical Netflix limited series, Colin in Black and White. Touching on Kaepernick’s journey as an adopted child, Black and White is ultimately about much more than the story of a young athlete. With Kaepernick himself as storyteller, the series uses his journey to wrestle with issues of race, class and culture. With every leap forward towards his career as NFL quarterback, so too does the young man find himself battling a system stacked against him. Even so, Kaepernick believed that his dreams were much larger than what others believed he could do and he chose to lean into his calling.

Colin in Black & White. (L to R) Mary-Louise Parker as Teresa, Nick Offerman as Rick Kaepernick, Jaden Michael as Young Colin in episode 103 of Colin in Black & White. Cr. Ser Baffo/Netflix © 2021

Directed by Ava DuVernay, Black and White is a fascinating blend of memory and truth that seeks to challenge our assumptions and allow Kaepernick to finally be heard. Part The Wonder Years and part African-American history class, DuVernay and Kaepernick have created something truly unique. With pop flair and energy, Black and White is a stunning mixture that draws the viewer in with its style but challenges them with its substance. Focusing the narrative primarily on Kaepernick’s high school football years, this is not a series that looks to simply explore a certain period and place in time. Instead, it wants to get to the heart of questions and issues that are taking place right now. By re-examining key moments in his youth through the eyes of adulthood, the series allows Kaepernick to grapple with larger conversations about the racial divides, biases and stereotypes that remain rooted in the heart of American culture. 

There is a courage that Kaepernick shows that sets him apart from other voices right now. Having taken on the role of activist after being released from the 49ers for his stance against racial injustice, he has become a key voice to challenge the systems that continue to remain oppressive. With each episode, Kaepernick shows that he has always had to struggle to be seen for his abilities. (“From the day I was born, I’ve never been anybody’s first choice,” he explains.) However, despite what he has seen and experienced, Kaepernick has continued to show strength in his ability to speak on behalf of others.

Colin in Black & White. Colin Kaepernick as Colin in episode 101 of Colin in Black & White. Cr. Courtesy of Netflix © 2021

Appearing as the show’s host and narrator, Kaepernick’s presence is felt throughout the entire series. Dressed in all black and holding a playbook in his hands, he calmly and passionately speaks with honesty and forthrightness, all the while challenging assumptions about himself and his culture. As a young man, he experienced prejudice simply due to his hairstyle. As a promising young quarterback, he was often held back due to his skin colour. 

Time after time, he was placed in a position where he had to prove them wrong.

But this is not a series which looks to air grievances against those who have stood against him. Instead, this is an opportunity for him to challenge ideological systems and help alter perspectives. Smartly written and stylistically presented, Kaepernick speaks boldly about issues that he has experienced but, more importantly, affect millions more on a daily basis. Conversations around white privilege, beauty standards and what it means to play the game ‘the right way’ force the viewer to explore the unconscious (and conscious) biases that they may either face (or hold) themselves. 

Colin in Black & White. (L to R) Jaden Michael as Young Colin, Nick Offerman as Rick Kaepernick, Mary-Louise Parker as Teresa in episode 104 of Colin in Black & White. Cr. Ser Baffo/Netflix © 2021

In the end, Colin in Black and White is a phenomenal piece. From DuVernay’s skills behind the camera to Kaepernick’s forthright conversations about issues of change, Black and White is essential viewing for anyone willing to engage in topics that are never easy to discuss. While Kaepernick’s story is tragic on many levels, it is only one of many who have felt the cold sting of injustice. So, why does Kaepernick have be the one to prove them wrong? 

Because, as his mother says, ‘[he’s] the one who’s strong enough to do it.’

Colin in Black and White is available on Netflix on Friday, October 29th, 2021.

The Guilty: Blurring the Lines of Justice

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Everyone wants to catch the guilty but not everyone recognizes that same guilt within themselves.

Directed by Antoine Fuqua (Training Day), The Guilty takes place during the raging wildfires of Los Angeles. As his nightshift at the 911 desk winds down, frustrated and exhausted police officer Joe Bayler (Jake Gyllenhaal) gets a perilous phone call from a young woman (Riley Keough) who appears to be calling her child. Though he must get up early in the morning for a trial of his own misconduct, Joe ascertains that the young woman has been abducted and attempts to piece together her whereabouts from her cryptic clues. With few officers available due to the fires (not to mention the time of night), Joe feverishly works towards rescuing her. However, as the crime begins to unravel, Joe’s own inner demons begin to surface, blurring the lines between justice and vengeance.

In The Guilty, Antoine Fuqua delivers his signature intensity in a film the demands attention. Reteaming with his Southpaw star Gyllenhaal, Fuqua has never taken the easy approach with his filmmaking and Guilty is yet another example of his ability to tell stories that others simply cannot. Taking place entirely in the office of 911 dispatch, it is very difficult to maintain interest over the course of a full runtime in one location (and especially when the protagonist is spending the entire length of the film on the phone). From Phone Booth to Netflix’s Oxygen, many other films have attempted to make this format engaging but most of these examples begin to falter as the film drags on. (Ryan Reynold’s Buried may be one of the few exceptions.) Quite simply, the viewer expects (and usually requires) some sort of visual change in order to keep them focused for an extended runtime. Nevertheless, The Guilty somehow makes it work. 

Much of this can be credited to the commitment of its star. Jake Gyllenhaal has always done intensity very, very well. With few exceptions, Gyllenhaal has always sought characters that he could sink his teeth into and, as a police officer about to stand trial, he fully dives into his performance. Let off the leash by Fuqua, this becomes yet another example of his incredible talent. As a result, anchored by a solid script and the strength of its lead, The Guilty may be one of the best examples of the genre. It simply grabs you from the opening scene and never truly let’s go. 

However, what makes gives The Guilty its power is it subtext. The Guilty tells a story of a police officer who is about to face trial for an undisclosed crime and he does not want to be held accountable. At the same time though, so too does he also refuse to acknowledge his own mental instability. As he fights to save the life of a young woman, he also exposes his own flaws and brokenness. Joe is a man who is determined to save those who he feels deserve it yet is also willing to unleash hell on those that don’t. The pressures of the job have clearly broken his spirit and his judgement is compromised. (“Broken people save broken people,“ he is told by a coworker.) Although we never fully fully discover what his crimes may be, we certainly understand that he made the wrong decision when he caused them. His desire to do right has been overcome by his pension to do wrong.

As such, there’s a complexity to Joe that keeps the viewer at a distance. We believe that he is someone who wants to defend the innocent. He is passionate about bringing down ‘the bad guys’ and wants to be one of the ‘good guys’. His love for his estranged family is genuine.

However, Joe also proves that he’s not currently suited to wear the badge. Bored and frustrated by the average person, he has little interest in the everyday problems of everyday people. Then, when really difficult situations arise, he is far too willing to take matters into his own hands. While this sort of rogue cop has been celebrated on film for decades (ie. 24‘s Jack Bauer), The Guilty understands that this sort of rage-filled avenger simply has no place in real life. There’s an inner rage and hatred against ‘scumbags’ that fuels Joe’s actions, making him a toxic presence in the community. In other words, his ‘justice’ can just as easily become an outlet for his own mental health issues. In this way, The Guilty acknowledges the importance of the police yet also calls for accountability and health of those who don the uniform.

Bold and gripping, The Guilty is a film that needs to be experienced. With skill and substance, Fuqua takes a genre that rarely works and delivers an entertaining and thrilling film that keeps the viewer on the edge of their seat. Even so, the real value of the film is its question of valor which resonates deeply with the questions of police accountability today. While Joe may be a man who wants to not be Guilty, it’s also clear that he’s far from innocent.

The Guilty is available on Netflix on October 1st, 2021

My Little Pony The Next Generation: Truth, Magic, and Hope

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I’m a child of the 80’s. I grew up with Rainbow Brite and She-Ra and, of course, My Little Pony. I also really enjoy kids’ movies in general, so I consider myself a pretty solid authority on the subject.

So, when I say My Little Pony: The Next Generation (now available on Netflix) is top-notch, I think you should believe me. Although you are totally entitled to your own opinions on the matter – I just so happen to think mine is the correct one, ha!

Our ponies have always been magical, with their most powerful magic being the gift of friendship and teamwork. A world without magic ponies is unimaginable. But it has happened! Not only have the ponies lost their magic, Unicorns, Pegasi, and Earth Ponies live isolated from and in fear of each other. Gone are the days of the Friendship is Magic crew of Rainbow Dash, Twilight Sparkle, Pinkie Pie, Fluttershy, Rarity, and Applejack. But Earth pony Sunny (voiced by Vanessa Hudgens) refuses to buy into the stereotypes and clings to the stories from her father that there was a time when all of the ponies lived in magical harmony, surrounded by friendship.

So, when an unexpected Unicorn visitor, Izzy (voiced by Kimiko Glenn), cheerfully prances into Sunny’s life, they set off to uncover the truth and restore magic to all of the ponies.

This movie is absolutely delightful. The animation is engaging and with a voice cast includes the talents of James Marsden, Sofia Carson, Jane Krakoswki, Ken Jeong, and as previously mentioned Vanessa Hudgens and Kimiko Glenn, the “acting” is on-point.

But it’s the story that is the heart and soul of this movie. Granted themes like stereotypes and fear and living divided aren’t anything new, but I always appreciate when films geared toward children really make universal struggles accessible. And this film delivers on that and then some. Sunny is often ridiculed and ostracized for her conviction that Unicorns and Pegasi aren’t evil, but she doesn’t budge on her hope for reconciliation. And what begins as two new friends on the same mission becomes a movement that will impact everyone.

I am often discouraged these days that there is nothing I can do to impart change. I am one person. Most of the time it’s overwhelming to even try because disappointment looms. But I recently had a conversation with a friend that reminded me that we can take one step to impact the person next to us. We may set out to change the world and everyone’s minds, but it only takes connecting to one other person before a third, and then a fourth, and then a fifth hop on board. And before we know it, change is blooming. Relationships are formed on acceptance and understanding. Lives are changed and communities are built.

Reconciliation is hard work. For Sunny and her new friends, they have to challenge generations of fear and prejudice while facing on of their own who rises into power by latching onto fear and weaponizing it. Again, it’s not a new story and probably more timely than ever.

But if we don’t keep seeking out ways to tell this story, we’ll find ourselves in the same place we’ve been in for generations – stuck in fear of the other, compelled only by self preservation, and completely lost to the beauty that is accepting someone for who they actually are instead of who we fear them to be.

My Little Pony has always stood for friendship. This movie stays true to that while also speaking into the moment we are living in now. Will we choose to stay stuck? Or will we take a lesson from our pony friends and step into a bright new future built on the magic of hope? For me, My Little Pony: The Next Generation compels me to dwell in the truth that even the smallest act of hope can change the world, one friend at a time.

My Little Pony: The Next Generation is now available on Netflix.

My Heroes Were Cowboys – Meet a Real Horse Whisperer

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“As much love as you put in to them, they’re going to give that back to you.”

My Heroes Were Cowboys, a short documentary (running time: 22 minutes) from Tyler Greco, is the story of what we have come to think of as a horse whisperer. He is a man who has the ability to connect with horses on manly levels.

Robin Wiltshire grew up in rural Australia in an emotionally cold home. He was viewed as “the runt of the litter” and received very little love from his father. Movie and TV westerns were his escape and his dream was to be able to work with horses. He now lives in Wyoming where he trains horses for films. You’ve probably seen some of his work, because it includes working with the Budweiser Clydesdales in commercials.

MY HEROES WERE COWBOYS. ROBIN WILTSHIRE in MY HEROES WERE COWBOYS. Cr. NETFLIX © 2021

Wiltshire is very much at home with his horses and connects with them individually.  That connection is based on finding a spark in each one that allows the relationship between trainer and animal to be beneficial for each.

The film provides beautiful vistas of Wyoming as we watch Wiltshire work with the horses and share a bit of his own view of what that work entails. As the quote above notes, he puts love into that work. His approach of using love in such a way should also bear like fruit in our own personal relationships.

My Heroes Were Cowboys is available on Netflix

Photos courtesy of Netflix.

Vivo: Dancing to the Beat of Your Own Drum Together

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Set in the heart of Havana, Cuba, Vivo follows a kinkajou named Vivo (Lin-Manuel Miranda) who spends his days performing with his dear friend and beloved owner, Andres. When Andres receives a letter from his former flame, the famous Marta Sandoval (Gloria Estefan), he is overjoyed and plans to meet her in Miami, Florida for her final show. However, after tragedy strikes, Vivo takes it upon himself to make the trip and deliver one last love letter to Marta in the form of a song. In order to make the journey, Vivo must team up with Andres’ grand-neice Gabi (Ynairaly Simo), a creative young tween who is determined to express herself.

Written and directed by Kirk DeMicco, Vivo is a delightful animated story about what it means to celebrate life and individuality. Partnering with Lin-Manuel Miranda, DeMicco offers a story that elevates the cultural vibrancy and importance of the LatinX community, especially through its incredible music. With his own unique style, Miranda has carved out his own legacy in pop culture. As the creator of such iconic soundtracks as In The Heights, Moana and, of course, Hamilton, Miranda’s voice and style are recognizable and often leads to success. While Vivo will not offer any new instant classics (Beat of My Own Drum is easily the closest), the soundtrack certainly has enough bounce to entertain and keep the story driving forward. Miranda has a way of bringing the film’s local culture to life through music and he allows Cuba and Miami’s flavour to burst forth with vigour.

There’s more to Vivo though than just the music. Featuring some truly exceptional animation, every environment pops to life with vibrant colour. From the neon energy of Miami to the warm pastels of Cuba and the lush greens and blues of the Everglades, each segment has its own life-giving spirit and unique qualities, whether it’s the surrounding structures or wildlife. These vivacious spaces pop onscreen with life and are a treat for the eyes.

The film also features some fun performances, especially from young Ynairaly Simo as Gabi. As a girl who moves ‘to the beat of her own drum’, Gabi is a fiery young character. With joyful enthusiasm, Simo allows her individuality to shine while never losing her soul. Backed by some solid work by Zoe Saldana, Gloria Estefan and Michael Rooker, Simo is allowed to shine in virtually every scene. (Although, ironically, the performance that seems most flat might be Miranda who does his best but still somehow lacks as the rascally kapuchin, Vivo.)

Although Gabi’s journey within the film focuses on her own individuality, the heart of Vivo goes further than this. Instead of merely suggesting that everyone has value, the film also highlights the beauty that takes place when differing cultures and voices come together. Perhaps the best example of this comes in one particular scene when Gabi and Vivo are travelling through the Everglades. As they both sing in their own unique manners about their personal goals and frustrations, they eventually fall in sync with one another and create something new that honours them both. In moments like these, Vivo not only highlights the value of our differences but also showcases the beauty that can take place when we allow cultures and tones to unite.

Fun and fiery, Vivo is an absolute blast for kids and adults alike. Anchored by vibrant colours and music, DeMicco and Miranda have created another unique story that proves to have more substance than it first appears. By celebrating unique cultures and individuality, Vivo also points to an essential value for kids to learn: it’s okay to bounce to the beat of your own drum.

Vivo is available on Netflix on Friday, August 6th, 2021.

Pray Away – Ex-Ex-Gays Tell Their Stories

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“We were doing what we thought God wanted us to do.”

If one constantly hears they are sinful when they go to church, they may quit going—or, they may seek to change. For LGBTQ+ people, for several decades, this often meant trying not to be gay—to change their life. Pray Away, from director Kristine Stolakis, gives us a historical overview of the “pray the gay away” movement, and lets us meet some of the people who founded that movement and have since not only abandoned that approach, but have embraced the reality of being LGBTQ+ people.

PRAY AWAY. Cr. NETFLIX

In the 1970s a small group of men in an evangelical church were all struggling with being gay and the message they were hearing in church. They formed a group to help each other with their urges. Soon they had thousands of letters asking for their help. That was the beginning of Exodus International, a huge ministry that promoted the idea that same sex attraction was a temptation to be overcome, and that with work, LGBTQ people could change.  Various therapists tied into this with “conversion therapy” to help people change their LGBTQ behavior. (That therapy has since been found to be ineffective and is rejected by medical and psychological professional groups.)

Soon, the more articulate of these people became well-known within the evangelical community and Christian talk shows. They told their stories and became (as one person notes in the film) “the most famous former gay [people] in the world”. They worked politically with the Family Research Council to oppose LGBTQ rights and especially same sex marriage. A good deal of the documentary is about the way these groups became a political force.

PRAY AWAY. Julie Rodgers in PRAY AWAY. Cr. NETFLIX

But in time, these same people came to realize that although they may have stopped acting on their desires, their same sex attraction never went away. They came to understand their same sex attraction to be a part of who they were. It became harder for them to maintain their public anti-LGBTQ stances. As one of them noted after working hard to defeat Prop 8 in California (which would have allowed same sex marriage), “A voice inside me said, ‘How could you do that to your own people?’”  The film shows that in 2013 Exodus International disbanded because those involved had repudiated its mission.

The film really only alludes to the pain and trauma that Exodus International and other groups like it caused those who underwent the conversion therapy process. We see some scenes of some of the leaders of Exodus listening to stories with former members, but we don’t hear those stories. It is sufficient to know that the stories were significant enough to lead those who were running the program to see the errors of that approach, and their discovery that what they were doing might not actually be God’s will.

PRAY AWAY. Randy Thomas in PRAY AWAY. Cr. NETFLIX

It is worth noting that when Exodus International began, even the most liberal Christian denominations were struggling with how to view LGBTQ people in their midst. Since that time some have become fully welcoming, accepting, and affirming. Others continue to struggle.

Those few men who started that group in their church (and the myriads that followed) were actively trying to follow God’s will as they understood it. They saw their actions as faithful, even if they came to see the harm it those actions later. As such, the film provides the viewers with the question of how (or if) we should judge those people. They sought to serve God, but ended up doing harm. But, to use a churchy term, they (at least those we see in the film) repented.

The film also shows the way the “ex-gay” movement continues still. From time to time in the film we see a current manifestation in the person of a self-proclaimed former transexual who is reaching out to others with his message. I would say that these sections of the film are less helpful in that the person involved just doesn’t have the same kind of credibility as those who were involved in Exodus International through the years. That makes it easy to dismiss him.

The film is narrowly focused on the history of Exodus International within the evangelical community and the harm that conversion therapy has brought to the hundreds of thousands who have gone through it. The film really doesn’t look at the whole question of the place of LGBTQ people within the church. There are indeed great differences—even within denominations—about how to look at LGBTQ people and issues.

PRAY AWAY. Cr. NETFLIX

The film shows at least two of those who were involved in the conversion therapy movement but now have accepted their sexuality, who still speak of their faith and we see them participating in worship. Personally, I find it encouraging that so many LGBTQ people continue to be in church—some where they are hardly welcome. It is not because of some “gay agenda”, it is because these people know the love of God and seek to worship and serve. For some they try to live out their faith in environments that denigrate them, but they persist. As I note above, many churches are welcoming—and are glad for the gifts these people bring.

Pray Away has a brief theater opening, but is available on Netflix on August 3.

Photos courtesy of Netflix.