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Disenchantment Part 3: Seeing the Present in the Past

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After a season of self-exploration and dynamic worlding building in Part 2, Disenchantment has finally returned to Netflix. With the release of Part 3, the story picks up immediately after Bean, Luci and Elfo have fallen underground. After confronting her evil mother Dagmar and her army of Trogs. Bean and her crew must somehow escape and clear her name in order to reclaim Dreamland. 

Similar to previous seasons, Part 3 continues to follow Bean’s journey of self-discovery. With an impeding war coming and her father incapable of leading, Bean is pushed out of her comfort zone as more responsibility falls upon her. Spending less time in Dreamland than ever, Bean’s journey gives her the opportunity to get to know the outside world more. However, at the same time, she also learns more about herself, becoming a more confident person. In doing so, this season is able to lean much more heavily into Bean’s ever-expanding role in Dreamland. Suddenly having to take the throne from her father, Bean’s transition to queen also sees her facing potential doom from both Steamland and her own mother. As Bean unlocks her magical powers, the danger continues to build, potentially leading to a climatic showdown similar to other hero stories. 

Spending less time in Dreamland compared to previous seasons, Part 3 also greatly expands its world-building by exploring new areas such as Mermaid Island and continuing to develop previous cities such as Steamland. In doing so, this season allows the creativity of the writers to really flourish as each area’s citizens, species and environments are unique and vibrant.

Even so, what I found most disappointing was the sidelining of Luci and Elfo throughout the season. Once a major character, Luci sees very little growth in Part 3 and seems to just kind of ‘be there’ in the many scenes. In fact, he’s even become predictable in the way he acts. By merely saying something evil or helping Bean with her tasks, Luci now feels like a one-note, robotic pet. Similarly, Elfo’s character sees little growth as well. Getting a new girlfriend ever couple of episodes, it’s seems as though he’s been religated solely to comic relief as the stereotypical ‘hopeless romantic’. (At one point, he’s even in love with a ship…)

Despite its medieval setting, Disenchantment continues to tackle modern, real-world issues. Set in a time where female opportunity and mental health were at societal lows, the Bean we’ve grown to love is usually portrayed as a tough, confident fighter. However, in the episode “Last Splash”, we get a very different look into Bean’s psyche and her view of herself. In a therapeutic rant, we get to see how Bean’s difficult journey has taken its toll on her mentally, especially her parents’ toxic relationship. She believes that, over time, Dreamland has enabled her own self-abuse as she self-fulfills the toxic opinions of her mother and the town about her. Ultimately, in the end of her rant, Bean completely dismisses her own feelings and reinforces her belief that she is her own worst problem. By reinforcing her metaphorical emotional wall, Bean subsequently refuses to acknowledge the pain within her that is caused by others, choosing instead to lean once again into the culture’s poisonous worldviews about women and power. This moment of openness and honesty shows the toxic effects of abusive family relationships, especially in a culture of power. Powerful and moving, this is easily one of the best moments of the new season, and one of the many gems throughout Part 3 that dives deeper into the characters of Dreamland. 

Overall, Part 3 is a great addition to the Disenchantment story. Filled with eye candy in its world building and some solid progression in the larger narrative of Dreamland’s survival, the season works well. Meanwhile, Bean shows some tremendous growth in the spotlight as she tackles more complex issues regarding her own self-image, helping her to develop as a leader and hero. A fun ride that is worth watching, Part 3 proves that Disenchantment still knows how to cast a spell on its audience.

Disenchantment Part 3 begins its journey on Friday, January 15th, 2021.

Outside the Wire: Fighting for Our Humanity

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Set in the year 2036, Outside the Wire tells the story of Lt. Thomas Harp (Damson Idris), a drone pilot with a commitment to weighing the odds. When Harp engages his drone in an active war zone in the face of a direct order from his commanding officer, he is transferred to the Ukraine under the command of Captain Leo (Anthony Mackie). Soon after Harp arrives, he is stunned to discover that Leo is actually an advanced BioTech android, yet his captain’s love for human life may actually make him more human than his new recruit.

Directed by Mikael Hafstrom (1408), Outside the Wire is an action-packed film with a high concept that struggles to leave a lasting impact after the final credits roll. To his credit, Hafstrom creates a world of grit and intensity that offers consistent action from start to finish. Intense and focused, Hafstrom does a good job of involving the viewer in the action by keeping them (mostly) emotionally invested. What’s more, with the addition of Avengers break-out Mackie, Wire is also front-loaded with a charismatic star that can handle elaborate set pieces as well. Charming yet focused, Mackie does an excellent job as the technologically advanced Leo and provides the film’s heart. Meanwhile, relative newcomer Damson Idris (Snowfall) provides an icy counterpart to the Mackie’s more compassionate android that creates some solid tension between the two conflicting ideologies.

However, with all of these building blocks in its favour, it’s somewhat surprising that Wire simply doesn’t fully realize its potential. With a high concept and intriguing premise, the film has the opportunity to truly make a statement about the evolving relationship between man and technology. Unfortunately, a meandering script and an over-emphasis on battle scenes at the expense of character moments prevent Wire from hitting its target.

Having said this, the film does manage an interesting conversation regarding the lines between man and machine. Lt. Harp’s initial decision to break a direct order stems from his commitment to cold, hard logic. In essence, Harp’s dedication to rational judgment gives him confidence yet also causes him to weigh human life with mathematical precision. Despite being told to remove his drone from a combat situation, he concludes that, despite killing two of his own men, the fact that he could save thirty-eight others counterbalances the loss. (Incidentally, is this the first time that the military has been shown to be the more empathetic organization?) 

When he meets Leo, Harp is struck by his captain’s apparent compassion for all human life, despite his robotic existence. Leo’s desire to preserve the lives of all under his care recognizes their value, regardless of their strategic advantage. As such, Harp’s journey throughout the film becomes one that challenges him to understand what it truly means to be human, as taught by a machine. Having spent his life as a drone operator, Harp has maintained a certain level of distance from the realities of combat and human life yet his relationship with Leo provides him with the opportunity to become more intimately connected with others. In this way, Wire serves as a reminder of the importance of every human life, sometimes in defiance of logic and reason. (Though, admittedly, the film’s final twist threatens to undermine this conclusion.)

While there’s a lot to like about Outside the Wire, one can’t help but feel that there was the opportunity for so much more. Rather than focusing on the action and advanced tech, the film’s real strength lies in its characters, especially that of the more-evolved Leo. However, in the heat of too many battle scenes, it’s unfortunate that they are the ones who end up being left behind in the process.

Outside the Wire is streaming on Netflix now.

Pieces of a Woman: Suffering in Silence

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Unless you’ve been through it, you don’t know.

Written by Kata Weber and directed by her husband, Kornel Mundruzco, Pieces of a Woman tells the story of Martha and Sean Carson (Vanessa Kirby and Shia LeBeouf), a young Boston couple who are excited for the imminent arrival of their first child. However, after their home birth goes awry, the two are left to grapple with the realities of grief and its impact on their relationship. Over the course of the next year, Martha struggles to maintain her increasingly-distanced relationship with her spouse while her vicious mother (Ellen Burstyn) attempts to serve her own agenda by seeking justice in her own way.

First of all, full disclosure here. As someone who’s family has experienced several miscarriages, I admit my personal connection with the subject matter. Widely experienced but rarely spoken of, the loss of a child is a moment that becomes a marker in one’s life and creates a series of complex emotions that are simply hard to express, let alone onscreen. As a result, despite the film’s ‘buzz’, I maintained a certain level of scepticism about the film. 

Thankfully, Pieces of a Woman manages to depict the realities of grief in a way that is both sensitive and challenging to those who have been there.

Written out of their own experiences of suffering and loss, Weber and Mundruzco have brilliantly woven together a narrative that reflects the silent pain of many. Though the film features stunning performances and a tightly-written script, the most memorable aspect of Pieces of a Woman is its ability to draw the viewer in emotionally. This is a film which wants the viewer to feel present with its characters during their anguish and joy. For example, through the film’s use of long takes—including the remarkable 24-minute birthing scene—Pieces places the viewer within these moments and asks the audience to experience them for themselves. In these spaces, minutes feel like hours for the viewer as each breath is packed with a wide scope of emotion.

The major building blocks to the success of Pieces are its incredible performances, especially that of its leads. Over the course of his character arc, LeBeouf demonstrates his range as Sean oscillates between joy, rage and utter depression. (Honestly, though issues in his personal life have proven problematic, it truly is remarkable how much he has matured as an actor.) What’s more, as Martha’s soul-crushing mother, Burstyn is positively brilliant, operating with cruelty yet fully convinced of her beliefs. 

Even so, much of the talk will (rightly) be centered around Kirby’s effort within this piece. Without over-selling her work, Kirby’s performance is simply mesmerizing as Martha, a woman fighting to survive each moment of the day. While moments of outburst are normally what gets noticed around Oscar time, the most powerful aspects of her performance are in the moments of silent anguish. In many ways, this is a role which requires restraint as much of the pain of loss remains unspoken. Nevertheless, the intensity that Kirby displays as Martha brings her breaking heart to life with every untamed glare.

Taking place over a year of their lives, Pieces shows that pain lingers. Whether it’s seeing a display in a children’s window or having to endure a family dinner, any number of moments can trigger the reminder of who has been lost and have a ripple effect throughout one’s relationships. For example, while their romance feels authentic at first, the chemistry between Kirby and LeBeouf shifts dramatically after their loss as their inaudible pain creates an increasing abyss of awkward silence. Though once incredibly close, their inability to process their grief together drives a wedge within their relationship that may be irreparable.

However, as difficult as it may be to live in such anguish, Pieces also points to hope. Since the experience differs for everyone, presenting the ebbs and flows of grief require a certain level of nuance so as not to suggest that there is only one way to cope in these circumstances. Impressively though, Martha’s emotional journey towards healing feels authentic. Most importantly, while it sits in the soul-shattering pain of loss, Pieces explores the complex relationship between healing and forgiveness. While admittedly, some of the dialogue in the film’s climactic courtroom battle feels forced, Martha’s journey towards emotional freedom lies rooted in her ability to release blame. As anyone who has experienced grief can tell you, moments such as these rightly cause anyone to search for answers. But what if none can be found? How we answer these questions ultimately determine our ability to begin to move forward and Pieces wrestles with these questions beautifully.

Undeniably, as the husband in our relationship, I will not (nor should I) claim to fully understand what my wife when through during our family struggles. In that way, I recognize my limited blinders in truly connecting with the material of Pieces of a Woman. Nonetheless, my personal experiences in grief does provide a certain perspective to this film that I cannot separate from my appreciation for it. I’m sure that, if I tried, I could find plot holes and question things like the soundtrack, etc. Though, to me, that’s simply not the point of Pieces. 

This is a film which, not only has some of the best performances of the year, but also depicts the nature of grief in a way that remains sensitive to those who have struggled in silence. That’s a testament not only to the cast but also to Weber and Mundruzco’s willingness to explore their own battle with grief in a way that could only stem from experience.

Because, frankly, unless you’ve been through it, you simply don’t know.

Pieces of a Woman is available on Netflix on January 7th, 2021. 

Cobra Kai: Still Alive and Kicking

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It’s not always easy to bring the past back to life.

For years now, we’ve seen films and series attempt to reboot or extend once-successful franchises with varying degrees of success. In a trend that never seems to go away, the hope continues to be that by latching onto what worked in the past, a refresh of the material will be welcomed back by old audiences while capturing new viewers. More often than not, with the passage of time, the magic is usually gone. Still, once in a while, a series manages to breathe new life into a dead franchise and create something new (or even better) than the original. 

This year, that series is Cobra Kai.

For those who haven’t yet heard, Cobra Kai is a sequel series to 80s classic The Karate Kid. Set thirty-four years after events of the infamous 1984 All Valley Karate Tournament, Cobra Kai shows that the lives of the two former karate finalists have taken very different paths. Whereas tournament champ Daniel LaRusso (Ralph Macchio) has become a successful car salesman, his defeated opponent Johnny Lawrence (William Zabka) struggles to make it through the day. Estranged from his son and working dead-end jobs, Johnny decides to find redemption by re-opening the Cobra Kai dojo of his youth and training a new generation of students. However, the rebirth of the controversial dojo reignites Johnny’s rivalry with LaRusso as their competing ideologies and methods unwittingly wreak havoc on the neighbourhood.

Once the property of YouTube Red, Season 3 sees the show moved permanently over to Netflix and, thankfully, the series feels as fresh and fun as its initial run. Although some side plots seem to distract from the overall storyline, the series manages to tie everything together in the end. Less about karate than it is about the brokenness of everyday people, Cobra Kai continues to be a generally slow burn of character development that climaxes with an epic finale. (Word to the wise, even though the last episode delivers what it promises, it definitely feels like a mid-season finale with a story arc built to reach its epic conclusion next year.) Well-written and energetic, Cobra Kai continues to care about its characters in ways that augment the action, as opposed to the other way around.

With the release of Season Three on Friday, the series picks up soon after the brutal high school brawl that hospitalized Miguel (Xolo Mariduena). With school starting up again, the Board has implemented a zero-tolerance policy towards violence of any kind (yet they don’t have any new security guards?). However, despite the school’s emphasis on peaceful reconciliation, tensions between Cobra Kai and Miyagi-Do continue to boil under the surface. As Johnny grapples with his role in Miguel’s tragedy, Daniel takes a trip to Japan in an effort to strike a deal that may save the sagging profits of the dealership.

While the series unapologetically leans heavily into nostalgia, it doesn’t necessarily feel slavish to it. In many ways, Cobra Kai simply feels like checking in on old friends from long ago while admitting that their lives had continued on since we last saw them. Whereas some reboots get lost trying to recreate the past, this is a series about people that can’t seem to move on from it. Once the king of Cobra Kai in his youth, Johnny Lawrence continues to try and rebuild (and pass on) the legacy of the one seemingly stable influence he had in his youth. Despite its toxic teachings of the time, Johnny still believes there’s something to be learned from the mantra of Cobra Kai.

Admittedly, it’s still somewhat funny how much this particular city relies on karate to settle their differences but the series continues to acknowledge this with a wink. (“I don’t understand why karate is so important to this city,” one city counsellor remarks.) Even so, for Daniel and Johnny, karate symbolizes much more than punches and kicks. To these men, karate represents discipline, self-confidence and a way to find family and acceptance. Both men once viewed their sensei’s as father figures (with varying successes) and, in turn, they want to pass on that opportunity to the next generation.

The heart of Cobra Kai keeps the series meaningful, especially through the character of Johnny, who continues to be the show’s soul. With his outdated views of the world and desire to remain ‘badass’, Johnny wants to recreate the toxic atmosphere of Cobra Kai not out of a sense of nostalgia but more likely because it’s the only thing that he knows. Despite his wealthy upbringing, Lawrence’s growth remains stunted by the endless parade of noxious voices that fed him throughout his youth. From his cruel stepfather to his psychotic and violent sensei John Kreese (Martin Kove), his young life was marred by toxic male voices that have warped his worldviews. Even so, while Johnny may be broken, there’s a desire to be a better man within him. With every step towards redemption, Johnny finds that his greatest battle remains within himself as he struggles to overcome the pain of his past that have led to his own flawed ideas about life (and himself). Though arguably the series’ greatest villain, Johnny Lawrence yearns for a fresh start.

In fact, in the world of Cobra Kai, everyone is redeemable. (Well, mostly.)

Whereas the original films leaned heavily on tropes of ‘hero vs. villain’, the series fleshes out (most of) its characters with complexity. From the impetuous Miguel to the battle-hardened Hawk (or is it Eli?), Cobra Kai paints each of its characters with a brushstroke of grace that shows their humanity yet gives the even darkest of villains a glimmer of hope. (In fact, Season 3 even lets the villainous Kreese have his journey fleshed out in order to bring some nuance and empathy towards the character.) In other words, this is a series that recognizes that everyone’s story features a mixture of wins and losses while acknowledging the positive and negative voices of those that helped form who we are today.

Even after all this time, Cobra Kai is a franchise that’s still alive and kicking. By bringing the ‘Miyagi-verse’ back to life, Zabka and Macchio have created a truly refreshing sequel series that reveals what happens when our present struggles to reconcile with our past. Furthermore, as long as they continue to develop characters and stories that feel honest, there’s no question that Cobra Kai still has a lot of fight left in it.

Cobra Kai is available on Netflix with Season 3 released on January 1st, 2021.

Ma Rainey’s Black Bottom: The Power of Money and Music

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Ma Rainey’s Black Bottom (2020): Viola Davis as Ma Rainey. Cr. David Lee / Netflix

Like creating great music, it’s important that every member of a film’s cast is on the same page.

Thankfully, in the case of Ma Rainey’s Black Bottom, the cast are not only in sync with one another. They’re in perfect harmony.

Set in 1920s Chicago, Ma Rainey’s Black Bottom takes place over the course of an afternoon as legendary ‘Mother of the Blues’ Ma Rainey (Viola Davis) and her band gather to record one of her latest hits. As temperatures rise, so too do tensions as Ma attempts to wrestle control of her music away from her white manager and producer. Within the band itself, conversations revolve around the ambitious and impetuous Levee (Chadwick Boseman), a trumpeter with dreams recording his unique style of music with the hopes of claiming fame for himself. However, as Levee’s visions of success cause disruptions amongst his bandmates, he also finds himself reliving some of the traumas that have so far defined his young life.

MA RAINEY’S BLACK BOTTOM (2020) Chadwick Boseman as Levee. Cr. David Lee/NETFLIX

Based on the play of the same name, Ma Rainey’s Black Bottom is a brilliantly and passionate performed film that begins with a song but ends with a power struggle. Directed by Tony award-winning playwright George C. Wolfe (Angels in America: Millenium Approaching), the film’s limited sets and dialogue-heavy scenes help it maintain the intimacy and energy of a Broadway play. Though not all dramatic adaptations adapt well onscreen, Wolfe brings the film to life by rightly letting its characters and their interactions remain the focus of the story. 

Though the entire cast does a remarkable job within the film, Ma Rainey’s quickly becomes an acting masterclass from two truly talented artists in Davis and Boseman. In one of her finest performances in recent years, Davis thunders around the room as the no-nonsense Rainey, taking no prisoners yet also demonstrating a subtle nervousness underneath her hardened exterior. 

Not to be outdone, Boseman’s work here is simply stunning as the confident and cocky Levee. Whether he’s showing off his new shoes or railing against his bandmates on issues of race or faith, Boseman emotionally invests himself into every moment of his performance with enthusiasm and vigor. As his final performance, his work here is truly an incredible send-off that showcases the immense talent that was lost with his passing.

Ma Rainey’s Black Bottom (2020): Viola Davis as Ma Rainey. Cr. David Lee / Netflix

Though the film is set in 1927, Ma Rainey’s couldn’t feel more relevant. At a time when racial injustice is a daily topic of conversation, this visceral tale about the imbalances of power feels both honest and necessary. In this film, money and race are in constant competition with one another for the seat of dominance. For instance, as their ‘most important artist’, Rainey runs the show, keeping her agent hopping with various needs in order to ensure that she and her band are happy. However, when she’s not around, the studio’s white producer maintains control, haggling over wages and dictating how the band will play their music. This tension is illustrated beautifully through the film’s sets as characters jockey for physical positions of power on staircases and various levels. (Incidentally, it’s also worth noting that the band members are only brought upstairs from the basement when Rainey arrives.)

However, there’s much more at stake here than ice cold coke bottles or dollar signs. This back-and-forth racial conflict points to a battle for the soul of a culture, primarily through its music. As Rainey insists on performing her way, her producer pleads with her to increase the tempo in order to reach a wider (read: whiter) audience. Building like a crescendo, small arguments about musical style and texture build furiously towards larger discussions about ownership that reveal the true issues of power at stake. (In fact, even Rainey knows that her hold over her white producers is tenuous, claiming that they’re only willing to help her because of the financial potential of her voice as opposed to genuine care.)

MA RAINEY’S BLACK BOTTOM (2020) Chadwick Boseman as Levee. Cr. David Lee/NETFLIX

Caught in the middle of this wrestling match is the young and ambitious Levee, who insists that he can create his own music while still appeasing white culture in the process. Believing that he can manipulate the system in his favor, Levee repeatedly attempts to show the value of his work yet is unable to find support from either the white producers who promised him fame or his own African-American bandmates. Unfortunately, with each roadblock that he encounters, the energetic Levee has greater difficulty battling the seething rage that bubbles underneath his smiling and optimistic exterior until he can no longer contain himself. Like the music that he longs to play, Levee’s journey points to a generation of African American youth that want desperately to have a seat at the table but ultimately find themselves at the mercy of a predominantly white culture that fails to appreciate the importance of their story.

Anchored by incredible work from Davis and Boseman, Ma Rainey’s Black Bottom demands attention. By allowing the performances to take centre stage, Wolfe wisely steps back and gives his cast the freedom they need to make stunning music together onscreen. Playing off of each other like fine jazz, Boseman, Davis and the rest of this cast are note-perfect together in a story that reminds us that the power of music lies in its voice.

Ma Rainey’s Black Bottom is available on Netflix+ on December 18th, 2020.

7.07 Reviving History in MANK

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Set in 1930s Hollywood, Mank tells the story of Herman J. Mankiewicz (Gary Oldman), a screenwriter with a scathing wit and a passion for alcohol, as he channels his experiences with the cultural elite into what will become his greatest achievement… the script for Citizen Kane. This week, we welcome Pop Life’s Richard Crouse and In The Seats’ Dave Voigt to chat about reading the present in our past and the relationship between integrity and power.

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.

7.07 MankDownload

The Prom: Everyone is Welcome

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There’s a certain mystique about the prom.

From ‘prom-posals’ to having the right date or transportation, proms are supposed to be nights of whimsy where everyone can celebrate their journey through high school. However, at the same time, they also continue to be infected with multiple levels of social politics as teens scramble to ensure that they have the perfect night. As such, what’s supposed to be a night of celebration for everyone can very quickly devolve into a night of exclusion and conformity.

With The Prom, director Ryan Murphy (American Horror Story, Glee) wants to believe that this can still be a night for everyone. Adapted from the Tony-nominated musical of the same name, The Prom tells the story of Indiana student Emma Nolan (Jo Ellen Pellman), a young woman who finds herself banned from her high school prom because she wants to attend with her girlfriend Alyssa (Ariana DeBose). Despite the support of her principal (Keegan-Michael Key) Emma is heartbroken and longs to be accepted for who she is. Meanwhile, in New York City, Broadway stars Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden) find themselves in a crisis of their own when their elaborate Broadway show is cancelled suddenly. With their careers in peril, Allen and Glickman discover Emma’s story online and believe that supporting her may help their public image. As a result, they trek to Indiana with friends (and fellow struggling actors) Angie Dickinson (Nicole Kidman) and Trent Oliver (Andrew Rannells) in an effort help Emma have the night she wants and give themselves a professional lift in the process.

There’s a lot to like about this Prom, a blistering ball of fun that provides the type of energetic escapism that may bring some joy during this difficult season. Brightly lit with blasts of colour, most of the musical numbers sparkle onscreen. Performances within the film are generally solid, especially from co-stars Andrew Rannells, Keegan-Michael Key and, of course, Meryl Streep. Anchoring the film, however, is newcomer Jo Ellen Pellman who shines as hero-in-waiting, Emma. A joy to watch onscreen, Pellman sparkles as the impetuous and courageous young woman, bringing an earnestness and enthusiasm to the film. 

Even so, the film is not without its issues. Clocking in at over 2 hours, The Prom ends up feeling a bit too long. What’s more, the primary lightning rod for the film is the casting of Corden as the openly gay Glickman. Admittedly, at a time where inclusion and representation have become daily (and necessary) headlines, the casting of the heterosexual Corden definitely could be argued as showing a lack of sensitivity to current conversations. (Certainly, there are other openly gay actors in Hollywood who could have filled Glickman’s silver suit.) However, it is worth noting that the LGBTQ+ community have significant representation within the film as well. From stars Pellman and DeBose to the significant diversity amongst its extras to director Ryan Murphy himself, The Prom takes its inclusiveness very seriously and, hopefully, that may help to counterbalance the controversy surrounding Corden’s position within the film.

In terms of discussing modern issues, The Prom keeps things as light and simple as the colour palette that it uses. This is not a tale that seeks to delve into the murkiness of moral ambiguity but rather invites others to step into the light of acceptance. While the film keeps the lines of ‘good v. evil’ clear from the opening scene (modern thinkers = noble; religious zealots = bad), The Prom does draw a clear line between inclusiveness and a proper understanding of Christian grace. (“When you’re lost it always helps recalling those immortal words that Jesus said. ‘There’s one rule that trumps them all: Love thy neighbour’”, Rannells pops.)

For Murphy, the most important truth remains that all are invited to enjoy the party. More specifically, the film is a call to offer genuine love to one another by reminding the viewer what it means to break down the divisive walls of judgmentalism and hypocrisy. In this way, the film does a good job of getting its message across that everyone matters and deserves to feel accepted and valued for who they are. 

In the end, The Prom is an enjoyable (but arguably forgettable) piece that offers enough charm and liveliness to keep viewers entertained. Despite its flaws, the film’s pop and ‘zazz’ does a fairly good job of creating a dream-like experience for viewers that only Broadway can achieve. Even so, the most important aspect of this Prom is that Murphy wants to make sure that everyone is invited to the party. While it may not be perfect, that doesn’t mean that you should throw out the invitation.

The Prom is in select theatres now and will be available on Netflix on December 11th, 2020.

Selena: The Series – They Come Together In You

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Netflix announces release date for 'Selena: The Series'

Even though first thing I thought to do when reviewing Selena: The Series was to compare it to the 1997 film, I soon realized that this would be completely unfair.  The film was a great glimpse into Selena’s life and career and was released just two short years after her death.  Wounds were fresh.  Now, 25 years after her death, we can truly see the impact that Selena had and continues to have on the world.  Through numerous memorials, statues, museums, and festivals in her honour, Selena’s legacy continues to burn brightly through generations.  While the movie was merely a snapshot, the series is a much deeper look into the lives and careers of Selena and the Quintanilla family.  (In fact, two of the executive producers of the series were Suzette and A.B. Quintanilla, Selena’s siblings, which proves that this passion project had the magic touch of the family.)

Selena the Series TV Show News, Cast, Release Date

You can’t choose just anyone to play a legend like Selena.  I was pleasantly surprised and thoroughly impressed with Christian Serratos.  Serratos has a very special air about her that mirrors Selena’s presence and she was able to master Selena’s cadence and idiosyncrasies without taking it over the top.  She was believable and respectful in her portrayal.

As young Selena, Madison Taylor Baez was impressive, and her voice blew me away.

The actors who portrayed the family, including Ricardo Chavira, Seidy Lopez, Gabriel Chavarria, and Noemi Gonzalez, had a lovely onscreen dynamic that rounded out the cast nicely.  They were a believable family.

Selena: The Series gives us a much broader view of the Quintanilla family’s journey through the music industry.  From the early years when they were just learning, through to their first record deal, award, and onward.  What largely stood out to me was the overarching theme of determination and dedication. This was largely seen through the father, Abraham (Ricardo Chavira).  The Quintanilla family was faced with tremendous financial adversity that would have deterred most from continuing to pursue this path.  Yet, time after time, they figured out a way around their issues and continued to press forward.  No matter what, this was the path that they chose and they were going to make it work.

Selena: The Series' on Netflix fails to give singer a voice - Los Angeles Times

It is so special to see the Quintanilla family bond.  Watching them navigate the tumultuous music industry and continuously sticking together was heartwarming.  Like us all, they may not have been a perfect family, but they had faith in one another and supported each other, which is too often forgotten nowadays.  

It was beautiful to see how the Mexican and American cultures intertwined through this story.  As Abraham said to Selena; “They come together in you.”  This beautiful statement really resonated with me and only made me think of how many other people from different countries would be brought closer through Selena.

Netflix Reveals Premiere Date For 'Selena: The Series,' About Late Music Icon

Showcasing Selena’s real voice in the musical numbers, Selena: The Series is sure to attract an even broader audience to her music, continuing her legacy even further.  And with story lines including success, fashion, and forbidden love, Selena: The Series is going to be an entertaining ride.

Selena: The Series begins streaming on Netflix on December 4, 2020.

Voices of Fire: The Unicorns of Gospel

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Voices of Fire English Docuseries Is Streaming Online watch on Netflix

Based in Hampton Roads, Virginia at Faith World Ministries, Voices of Fire is the newest Netflix reality show and focuses on Bishop Ezekiel Williams’ vision of a diverse and inspirational gospel choir.  He gathered an expert team including a musical director, vocal coach, choir master, and his nephew, Pharrell Williams, in order to find the most talented group of gospel singers arounds.  (“Unicorns”, as Pharrell called them.)

Netflix 'Voices Of Fire' Sets Pharrell Williams Gospel Choir Search – Deadline

Bishop Williams wasn’t just looking to form a singing group.  His goal was clearly to have his message reach the masses.  His dream was to tour the world with this choir, stating that “music transcends racial divide and cultural boundaries”.  He expressed how people won’t sit down and listen to a sermon but they’ll listen to gospel music and receive the same message. He believed music makes the message more palatable.

It’s not long into watching Voices of Fire that you start feeling all kinds of emotion and it’s impossible not to feel the music in your soul.  Honestly, some of the voices that audition for the choir are the most beautiful you’ve ever heard.  

Hear emotional 'At Last!' rendition on Pharrell's 'Voices of Fire' | EW.com

Apart from these voices, the power comes from hearing the back stories of those who audition.  Some of them experienced the most unimaginable hardship.  It was often heartbreaking, but special to be able to get a glimpse into what made them who they are, and what brought them to music.  Those past experiences truly bleed into their music and increase the emotion that much more.

As someone who has been involved in church choir, I can vouch for the fact that it is a challenging yet beautiful experience.  When all of the voices come together in harmony, it’s powerful.  Religious or not, you can’t not feel it. 

Voices of Fire is a special journey to witness.  It’s available now on Netflix.

Mank: Nostalgia Never Felt So Relevant

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MANK (2020) David Fincher’s MANK is a scathing social critique of 1930s Hollywood through the eyes of alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of Citizen Kane for Orson Welles. Gary Oldman on the set of Mank. Cr. Nikolai Loveikis.

Set in 1930s Hollywood, Mank tells the story of celebrated screenwriter Herman J. Mankiewicz (Gary Oldman) as he develops what will become his greatest ‘opera’, Citizen Kane. Under incredible pressure to produce brilliance through his writing, Mank reflects back on his toxic battles with the mighty William Randolph Hearst (Charles Dance) that led to being blackballed by the same studios that once embraced him.

MANK (2020) Gary Oldman as Herman Mankiewicz, Arliss Howard as Louis B. Mayer and Tom Pelphrey as Joe Mankiewicz. NETFLIX

Directed by David Fincher, Mank is an absolutely stunning sight to behold. Shot using similar stylistic devices as it’s subject Citizen Kane, Mank is an absolute tribute to the Hollywood of old. Using filtered lighting, slow fades and layered text, the film transports the viewer back in time to the Golden Age of cinema. (In fact, the film is so convincing that one could be forgiven if they were oblivious to the fact that it was released this year.) What’s more, the film’s score by Trent Reznor and Atticus Ross (frequent collaborators of Fincher’s since The Social Network) is utterly remarkable, echoing the crescendos and bounces of early soundtracks to perfection.

In fact, the reproduction of old Hollywood is so dazzling that it’s possible that some may use it as a slight against the film. Inevitably, there will be some who believe the film has more style than substance, attempting to impress audiences with their slavish abilities to recreate the past. (For example, this was one of the most vocal criticisms of former Best Picture winner, The Artist, which blew onto the scene with its homage to the silent film era.) However, to claim that Mank is merely fancy camerawork and special effects would be wholly inaccurate. 

MANK (2020) David FincherÕs MANK is a scathing social critique of 1930s Hollywood through the eyes of alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of Citizen Kane for Orson Welles. Amanda Seyfried as Marion Davies.

To quote Mank himself, “This is different. This is about something.”

Perhaps it’s not surprising that one of 2020’s best films smacks of nostalgia. Unironically, this would be the year above all else that viewers may yearn for a ‘simpler time’. However, if anything, the film continues to prove how stories of greed and corruption continue to be relevant to this day. In the world of Mank, the image is what gives power. Whether it’s Hearst’s impressive estate or the bright lights of celebrity, notoriety seems to equal influence. (“People think because you’re on the cover of Modern Screen, they know you,” Marion moans.) Nonetheless, the pomp and prestige that wealth and notoriety appear to offer create a vacuum too easily filled by dishonesty and fraud. Though he struggles with his own vices such as alcoholism, Mank is fully conscious of his flaws and yet remains unapologetic about them. Held up against the false imagery around him, Mank’s authenticity and self-awareness is worn as a type of broken armour and reveals the challenges of swimming upstream with integrity at a time when the river is poisoned. 

MANK (2020) Gary Oldman as Herman Mankiewicz and Amanda Seyfried as Marion Davies. NETFLIX

The first screenplay by Jack Fincher (David’s father, who died in 2003), Mank is a tribute to the notion of the writer and, more accurately, the truth itself. Though he struggles with his own demons, Mank has little time for the pretense of others. Speaking with a razor-sharp wit, he is beloved at parties but often written off for his wild perspectives and insights. (“He likes the way you talk. Not the way you write,” Mayer shoots at him.) Even so, Mank continues to speak his mind out of principle and integrity, attempting to reveal the sins within the imbalances of power. As “the smartest guy in the room”, he is well equipped to recognize the difference between the powerful political puppet masters and their unwitting marionettes. To Mank, honour comes from cutting through the façade that those in power put on for others and speaking out on behalf of others.

MANK (2020) NETFLIX

Utilizing techniques from yesteryear, Mank offers something truly unique to this year’s crop of films that somehow feels both fresh and nostalgic. Even so, beyond the dazzling cinematography and gimmicky techniques, the film has much to say about the power of truth at a time when image is king.

Mank is now playing in select theatres and will be available on Netflix on December 4th, 2020.