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The Guardians of the Galaxy Holiday Special: Holiday Cheer and Redefining Home

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This Black Friday, the best holiday deal you’re going to find is on Disney+.

Written and directed by James Gunn, The Guardians of the Galaxy Holiday Special begins as the Guardians wonder how they can help Peter Quill (Chris Pratt). As the Terran celebration known as ‘Christmas’ approaches, they notice that he’s hardly in the holiday spirit. In an effort to cheer him up, Drax and Mantis (Dave Bautista and Pom Clementieth) decide to give him the ultimate gift by bringing Quill his favourite ‘hero’: Kevin Bacon.

Fans looking for progression and character development here will likely end up disappointed as this adventure has very little to do with the larger franchise, despite claims otherwise. (However, it’s worth noting that two small bits of information are revealed that could play an important part in the upcoming Vol. 3.) Nevertheless, this is the type of entry that Disney+ is made for. Fueled by Christmas cheer, The Guardians of the Galaxy Holiday Special is short, silly and an absolute party from start to finish. 

Once again, Gunn’s signature style is also very much at work here. Featuring another hot soundtrack, Holiday Special plays right into fan’s expectations with its humour and heart. (Although, it’s also worth noting that the best song may be its initial ditty about how aliens just don’t understand the holiday.) 

While he may be making the move over to DC in the future, Gunn clearly still enjoys playing with his Marvel toys. Having established and defined this group of ragtag misfits, Gunn has a love for these characters that remains evident. After two films and several other appearances (including a new Guardians ride that he directed at Walt Disney World), Gunn has ensured that we have a relationship with these characters and care about their well-being. After all, why else would we care if Peter Quill is sad on Christmas? It’s actually a tribute to Gunn’s work that fans have become so invested Quill’s trauma that from the loss of Gamora that this story would even be an interesting to fans of the MCU. 

He has cared about them. So, we still care about them.

As a result, Holiday Special is a hilarious addition to the series that, while silly and non-sensical, still somehow becomes heartwarming by its finale. While all the Guardians are involved, this is truly a story anchored and led by Drax and Mantis. Somewhere along the line, these two characters have become the soul of the team and have delightful chemistry onscreen. In Holiday Special, the duo are unleashed and let their silliest impulses run wild while never losing the heart of the characters that has made them so beloved. (Although, one must also recognize the work here by Bacon who simply leans into the holiday spirit with an almost giddy performance.)

What’s interesting about a lot of modern holiday specials is the fact that they want to talk about Christmas without actually talking about Christmas. While Quill mourns the loss of the holiday from his home planet, we aren’t really left with much knowledge as to why. Instead, to borrow a line from NBC’s now-defunct series Community, the Guardians Holiday Special seems to suggest that ‘the meaning of Christmas is that there’s meeting in Christmas’. Christmas lights stun the eyes and giving gifts to the ones you love feels important. But the love of the holiday seems to stem from a love for the holiday itself.

However, one of the clearest emotional notes of the Special is its relationship to family. Having travelled far across the galaxy at a young age, they see that Quill feels like something is missing. As Kraglin remembers Quill’s holiday failings with Yondu, he and the Guardians believe that he has lost a piece of himself without his home. Because he’s been separated from his home world, Quill has experienced great loss in his life. Whether it’s his family or Gamora, the holidays have left him feeling lost without a family.

And therein lies the secret to the holidays within this story. 

For the Guardians, to discover Christmas is to recognize the importance of being with family. While Quill may miss the decor of the holidays, what means the most to him is being with the ones that he loves. As such, this Holiday Special features no villain to be defeated (an MCU first, btw) or world to save. Instead, it simply wants to sit with holiday humour and remind fans to treasure the people around us. In doing so, the Specialrecognizes that, no matter what corner of the galaxy you’re in, it’s these people that make a home.

Although, getting Kevin Bacon as a Christmas gift doesn’t hurt either. 

The Guardians of the Galaxy Holiday Special is available on Disney+ on Friday, November 25th, 2022.

Thor: Love and Thunder – [Faith, Hope] and Love and Thunder

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(L-R): Natalie Portman as Mighty Thor and Chris Hemsworth as Thor in Marvel Studios’ THOR: LOVE AND THUNDER. Photo by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved.

Set after the events of Avengers: Endgame, Thor: Love and Thunder sees the once-mighty titular hero (Chris Hemsworth) set out with the Guardians of the Galaxy on ‘wacky adventures’, saving planets from threats to their safety. Having not dealt with the deaths of various family members and loved ones, Thor is avoiding his feelings of grief and loss. However, when he is called back home to defend Asgard against Gorr the God Butcher (portrayed wonderfully by Christian Bale), he must face his past. Teaming up with Valkyrie (Tessa Thompson) and Dr. Jane Foster (a returning Natalie Portman), who has now become the Mighty Thor through a heart-tugging series of events, Thor begins a new set of adventures as he attempts to re-discover his value.

Chris Hemsworth as Thor in Marvel Studios’ THOR: LOVE AND THUNDER. Photo by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved.

As we’ve come to expect from Taika Waititi (the director/co-writer, who is also back as Korg), the film is heavy on the silly. But, when all the ‘wackiness’ is peeled back, Thor: Love and Thunder deals with some important themes of loss, fear, and doubt, especially as Gorr questions the usefulness of gods to the people who believe in and, in many instances, suffer for them.

What is the importance of faith, especially in the midst of hardship? Is there some reward that we receive after the hardship that makes enduring it worthwhile? As someone who believes in God and has struggled with prayer myself, it was honestly kind of uncomfortable to be faced with those questions within the film. But I find that kind of discomfort useful because it made me examine myself and ask, “why do I believe what I believe?” and “why bother having any hope at all?”

Christian Bale as Gorr in Marvel Studios’ THOR: LOVE AND THUNDER. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Those are questions you can only answer for yourself, but Love and Thunder doesn’t leave us without offering some hope. Its central theme is that “it’s better to have loved and lost than not to have loved at all,” reminding us that love is worth the pain of possibly getting your heart broken. This sentiment is maybe cliché to some people and I, for one, would love it if we could skip the ‘loss’ part of life, even if it meant functioning as emotionless creatures who are just effective in running the world. Yet, neither of those is the case. Love and Thunder reveals the real complexities of being human and what it takes to thrive as one.

Chris Hemsworth as Thor in Marvel Studios’ THOR: LOVE AND THUNDER. Photo by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved.

It’s really impressive that writers, Waititi and Jennifer Kaytin Robinson, are able to present these heavy subject matters with such humour. And, yes, the humour is wild. (Personally, it cut back the jokes just a little bit and let the emotion play out more.)

Still, Marvel is showing no signs of slowing down and seems bent on giving us at least one multiverse full of reasons to keep our hopes up.

Thor: Love and Thunder is available in theatres on Friday, July 8th, 2022.

8.27 Lost Worlds and Legacies in JURASSIC WORLD: DOMINION

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Directed by Colin Trevorrow, JURASSIC WORLD: DOMINION takes place four years after the destruction of Isla Nublar. Since that fateful day, the once-secluded dinosaurs have spread across the globe, living and hunting alongside the human race. However, when a new species threatens the global food industry, teams spanning generations must reunite in order to solve the mystery and prevent global catastrophe. This week, Dave Voigt (In The Seats) and Ben Dower (SF’s Monster Mondays) band together to bite back at DOMINION and its world of mayhem as we discuss missed opportunities and the joy of theme park rides.

You can stream on podomatic, Alexa (via Stitcher), Google Play, 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.

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Jurassic World: Dominion – Sound and Fury

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The age of the dinosaurs has come to an end. And there are many who are celebrating its demise.

Although the franchise has seen tremendous financial success over the past three decates, few of the entries have been a hit with critics. Other than the (still) brilliant original, many have felt (rightly) that the sequels have been somewhat of a mixed bag, either relying too heavily on nostalgia or just plain ridiculous. But its latest instalment, Jurassic World: Dominion, has found itself utterly blasted by poor reviews across the board.

Spoiler alert: this won’t be one of them. (Well, not entirely.)

Directed by Colin Trevorrow, Jurassic World: Dominion takes place four years after the destruction of Isla Nublar. Since that fateful day, the once-secluded dinosaurs have spread across the globe, living and hunting alongside the human race. However, when a new species threatens the global food industry, Dr. Ellie Sadler (Laura Dern), Alan Grant (Sam Neill) and Ian Malcolm (Jeff Goldblum) reunite to prevent global catastrophe. Meanwhile, Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard) are also working hard to discover what mega-corporation BioSyn wants with their daughter Maisie (Isabella Sermon) as she may hold the key to solving the mystery herself.

Every longstanding franchise comes to a point where they have to change the formula in order to survive. Sometimes it works, sometimes not. Admittedly, the Jurassic world wrote itself into a corner with the ending of the previous installment, Fallen Kingdom. By unleashing dinosaurs to rule the earth, the franchise opened a Pandora’s Box without any way to close it. All of a sudden, a series that found its greatest success telling stories about a group of people fighting for survival an enclosed environment completely reversed their formula. 

The series that began as a Lost World had transformed into Land of the Lost. 

Now, as the beasts of history were trampling wide-open spaces around the world, the franchise was forced to pivot. Given the impossible task of attempting to re-create the magic of a classic film, Dominion has had all of its rules changed. How do you attempt to wrap up an iconic franchise when the previous installment threw away the things that made it work? (In fact, one could argue that, like the characters in the film itself, the screenwriters are clearly trying to make the best of a bad situation.)

In a lot of ways, one has to respect the franchise for trying to make the old feel fresh. After all, they had been using similar formulas for the last 30 years with varying degrees of success. Ambitious and wild, Dominion is an attempt to bring an aging franchise into a whole new (Jurassic) world. As a result, the film is chaotic, silly and often non-sensical. 

But, dang it, I enjoyed myself.

Over the years, there’s been much debate as to whether certain films are ‘cinema’ or nothing more than ‘theme park rides’, as though there is some definitive line between the two sides. Dominion may be the film that hits both targets. Broad in its scope, this film feels as though the viewer has paid their ticket, gotten into the boat and takes a trip through a world of wild and possibilities. Whereas early films in the franchise attempted to delve into the moral high ground of scientific achievement, Dominion has no such sensibilities. (I believe it Shakespeare would say that it’s fueled by ‘sound and fury, signifying nothing’.) Instead, it simply wants to play with the toys they’ve created and unleash them in their new environment. Gone is much of the social commentary that marked Spielberg’s original, now replaced by scene after scene of monster-mayhem.

But it’s having fun doing it.

As (supposedly) the last film in the franchise, a clear effort has been made to bring the past and present together. By reuniting original characters with legacy cast, Dominion is very interested in bringing generations together. Wisely, the older characters are far more than cameos. Similar to the returnees in Spider-Man: No Way Home, beloved characters like Ellie Sadler, Alan Grant and Ian Malcolm are allowed to affect the plot. Although the film is drenched in nostalgia, there remains a certain level of satisfaction in seeing them back together onscreen. 

As with previous entries, there is an admiration of the natural world that pervades the film as well. At every opportunity, Dominion wants you to know that the filmmakers still care about the dinosaurs, even if the beasts almost feel as though they are the background as opposed to in it. With nature now lording over the ‘civilized’ world, these monsters are simply looking for a way to make their home among us. No longer are they for our amusement, yet they still carry the Spielberg-ian sense of wonder. (For example, an Apatosaurus slowly wandering through a lumber site is only one moment of many where humanity pauses to admire their new dino-roommates.)

As such, there is a deeper level of humility for nature in this than any of the other films. Whereas previous entries were about attempting to gain control of the nature world, Dominion recognizes that humanity is no longer the top of the food chain. (“Humanity has no more right to be top of the food chain than any other species,” pines Ian Malcolm.) The damage has been done and we must accept the reality that we’ve created. The past cannot be changed… so what does it mean to live in the moment that is here? 

Right now, there are many who feel like Jurassic World: Dominion is an extinction-level event. But this reviewer simply doesn’t agree. Although there are moments that are laughable, Dominion’s insanity is wrapped in gleeful silliness. Is it the best of the franchise? Not at all. But, despite what some may say, it isn’t the worst either.

Admittedly, one needs to lower their expectations for Dominion if they believe it will achieve the heights of the original. But, if you’re willing to hop onboard for a journey into dino-chaos, there’s no reason that you won’t enjoy the ride.

Jurassic World: Dominion roars into theatres on Friday, June 10th, 2022.

Alaskan Nets: Character on the Court

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Competitive sports mean a great deal to many families around the world. But, in some areas, it’s the very heartbeat of the community, providing much needed distractions from the challenges all around them.

From executive producer Chris Pratt, the new documentary Alaskan Nets brings the viewer to the remote area of Metlakatla, Alaska’s last remaining native reserve. Home to the Tsimshian Natives, the Metlakatlan community is defined by their fishing industry and their passion for basketball. As their local high school team the Metlakatlan Chiefs gear up for their new season, their goal remains winning the State Championship, a feat they have not accomplished in over 35 years. Led by their coach DJ King, the Chiefs embark on an improbable run that they hope will help them leave their mark on their school’s—and state’s—history.

Directed by Jeff Harasimowicz, Alaskan Nets is one of the more heartwarming sports films in recent memory. Telling the story of one school’s quest for glory for the first time in 35 years, the joy of Nets stems from its honesty as we quickly realize just how important the potential championship would mean to the remote fishing community. In this remote corner of Alaska, basketball has become the primary outlet for the community. Set against the harsh background of the wilderness, the entire community turns to basketball for joy in the midst of difficult times.

However, there is more to this film than jump shots and three pointers. While the championship may be the driving force of the narrative, there is as much happening off the field court then on it. For example, although basketball may be the town’s passion, Metlakatla is a fishing town and all those who live there are expected to be a part of that tradition. Fishing and diving are dangerous work and the toll that it has taken on the community is apparent from the beginning. Lives are often lost amidst the treacherous seas yet the industry remains the primary source of income for the community. As a result, emotional family losses weigh heavily on the kids as their lives outside sports seem like an endless struggle.

Interestingly, Harasimowicz takes more of a team approach to his filmmaking. Rather than delve too much into the lives of the players, he focuses on their journey together through wins and losses. As the team works towards their championship dreams, they are reminded what it means to work together and put aside their differences for the sake of a common goal. Along the way, while the championship remains the goal, their life skills are developing as well. In this way, winning become secondary, even if it doesn’t feel like it.

In this way, Nets also speaks to the power of teamwork and the power of adults who mentor the youth. As the students navigate their difficult personal situations, teachers and coaches continue to remind them that this is only the beginning. Fully aware of the realities that await them outside of the school walls, the teachers and staff work tirelessly to prepare them for life off the court. Emphasizing education can be a challenge in a community where fishing apprenticeships take priority but they continue to fight for their students’ futures. In particular, Nets focuses a great deal on the role of Coach DJ King in their lives as he pushes them to be better players on the court and better people in the everyday world. Though his focus is on the care of his students, Coach King suffers abuse at the hands of parents and struggles to keep his players focused on living lives of respect. 

Both heartwarming and heart-wrenching, Alaskan Nets is an absolute delight. Without giving any spoilers, the journey of this team is something to behold as they claw and scratch their way through the season with a championship held firmly in view. More importantly though, as they work together, so to do they grow together as young men. Because of the love and support of their teachers and staff, these players are reminded that their lives matter more than the events that take place on the court.

And that’s worth more than gold.

Alaskan Nets is available on VOD now.

Disney brings ONWARD home early

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BURBANK, Calif. (March 20, 2020) –The Walt Disney Studios announced today that Disney and Pixar’s “Onward” will be available to buy digitally and on Movies Anywhere beginning today at 5:00PM PST/ 8:00PM EST and on Disney+ on April 3 in the U.S.

The film premiered in theaters on March 6 and earned rave reviews from audiences, including a 95% Verified Audience Score on RottenTomatoes. With cinemas currently impacted by closures due to the global health crisis, Disney will offer the film ahead of schedule to purchase on digital platforms in the U.S. beginning today at 5:00PM PST /8:00PM EST for $19.99.

“While we’re looking forward to audiences enjoying our films on the big screen again soon, given the current circumstances, we are pleased to release this fun, adventurous film to digital platforms early for audiences to enjoy from the comfort of their homes,” said Dan Scanlon (Director, “Onward”) and Kori Rae (Producer, “Onward”).

In “Onward,” teenage elf brothers Ian and Barley Lightfoot (voices of Tom Holland and Chris Pratt) get an unexpected opportunity to spend one more day with their late dad, embarking on an extraordinary quest aboard Barley’s epic van Guinevere. Like any good quest, their journey is filled with magic spells, cryptic maps, impossible obstacles and unimaginable discoveries. But when the boys’ fearless mom Laurel (voice of Julia Louis-Dreyfus) realizes her sons are missing, she teams up with a part-lion, part-bat, part-scorpion, former warrior – aka The Manticore (voice of Octavia Spencer) – and heads off to find them. Perilous curses aside, this one magical day could mean more than any of them ever dreamed.

This follows recent moves by Universal to bring in-theatre titles such as Invisible Man, The Hunt and the upcoming Trolls: World Tour to on demand services early as a result of the current pandemic. Warner Bros. has also opted to bring The Way Back to on demand early from theatres and titles Birds of Prey and Just Mercy as well.

What makes this move particularly interesting is that Disney has decided to use Disney+ in their arsenal, as opposed to mere VOD as an outlet. While other studios have options in terms of on demand streaming, Disney already has a significant claim to the home market thanks to their streaming sites.

6.24 Finding Purpose in the Quest in ONWARD

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Julie, Paul, and Jolie bring their thoughts on Onward, Pixar’s latest feature about two brothers on a quest to bring back their late father before sundown.

With voices of Tom Holland, Chris Pratt, Julia Louis-Dreyfus, and Octavia Spencer, is Onward too star heavy to be rich in content? Or does it deliver a classic, fun, and heart warming story?

Listen in as we talk about discovering who you truly are, what matters most, and finding what you’re looking for where you least expected it.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Onward: The Magic is Within

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“Long ago, the world was full of wonder. It was adventurous, exciting and best of all, there was magic. And that magic helped all in need. But it wasn’t easy to master. And so the world found a simpler way to get by. Over time, magic faded away….”

Disney/Pixar’s Onward is set in this world that used to be so full of wonder, adventure, magic. But technology made it easier to get by without the magic, so things settled into a ho-hum suburban lifestyle. The world is still filled with magical creatures—elves, pixies, unicorns, mermaids, cyclopes, centaurs, fauns, manticores, dragons—but because they haven’t been in touch with the magical nature of the world, all those gifts have become dormant.

It is in this fantasy world that elf Ian Lightfoot (voiced by Tom Holland) is turning 16. Ian is shy, but wishes he could be bold. He feels a bit empty because he never knew his father. His older brother Barley (Chris Pratt) has three memories of their father and though they are rather banal, because of their rarity, both brothers venerate those memories. Barley is as boisterous and outgoing as Ian is reserved and quiet.

Because it’s Ian’s birthday, their mother Laurel (Julia Louis-Dreyfus) gives the two boys a gift from their father meant for when they are both over 16. It is a magical staff with a note that includes a spell to allow him to come back for one day so he can see how they’ve grown up. Barley can’t make it work. But when Ian picks up the staff, it is obvious that he is the one with the magical gifts. When the spell goes awry part way through, leaving Dad materialized only up to his waist, the boys must set out on a quest to find another magical crystal so they can complete the spell before the day is over.

The odd-couple nature of the brothers is the engine that drives the story. Ian is quiet and timid. He has no idea of what magic is or how to make it work. Barley has no fear (even when he should). But he is a veteran Dungeons and Dragons player who believes that the game reflects the real history of the world. He knows spells, but he must encourage Ian to use them when needed. As they try to complete the quest, the brothers learn about each other and themselves. They find a way through their common grief. They also begin to show that the world is full of magic, if only the world will connect with it.

As I look back at previous Pixar films, I think of films that rely on stories that touch the viewers. Onward touches us, but not to the same extent of other Pixar films. That may be due to the frenetic pace of the brothers’ journey. It feels more like an action movie than some of the more thoughtful nature of past films. Because of the pace, there is little time to appreciate the comedy involved. There are some funny spots, but they blow by way too fast.

In the end, we may see this as a film about faith. Barley is a man who believes and trusts in the magic of the world. Even though others don’t see that magic, for Barley it is waiting to be rediscovered. Through the brothers’ journey, that forgotten nature of the world becomes visible yet again, changing not only Ian and Barley, but everyone who sees what they have done—and come to believe as well.

Onward casts its spell in theatres on Friday, March 6th, 2020.

Photos courtesy of Walt Disney Studios

The Lego Movie 2: The Toxic Gender Wars

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We all owe Disney a collective ‘Thank You’.

After their unceremonial firing as directors of Solo: A Star Wars Story, Phil Lord and Chris Miller were immediately offered involvement in two projects that needed guidance. One such project was Spider-Man: Into The Spider Verse, an animated spin outside the confines of the MCU that was met with critical acclaim and may well net a Best Animated award from this month’s Oscars. The other project was, of course, The Lego Movie 2: The Second Part, a sequel which clearly benefits from their unique energy and voice.

The Second Part arrives at an interesting point in the franchise. Despite the critical and financial success of the first film and its follow-up Lego Batman, the misstep of The Lego Ninjago Movie seems to have tempered anticipation for the world of Bricksburg. While the first entry felt like a fresh take on the importance of play (and its stunning connection to the human world), follow-ups have felt increasingly like extended toy commercials. Thankfully, The Second Part feels like a return to form for the series that almost achieves the same success as the first.

Directed by Mike Mitchell (Sky High) and produced by Lord and Miller, The Lego Movie 2: The Second Part begins immediately following the events of Taco Tuesday in the first film. Here, the citizens of Bricksburg face a dangerous new threat when invaders from space begin to destroy everything in their path. When Lucy, Batman and their friends are kidnapped and taken to the land of DUPLO, Emmett must venture into unknown territory in an effort to save them from the villainous Queen Watevra Wa-Nabi.

Filled with Lord and Miller’s trademark whip-smart pop culture references and layered dialogue, The Second Part further embraces the interaction between the imaginative and human world by taking the beloved characters beyond the basement and into the vast unexplored region of the Systar system. While the first film was concerned with Emmett’s journey to discovering what it means to be ‘The Special’, The Second Part shifts gears to explore the dangers of toxic gender roles. As the now beloved characters darkly brood over the state of Apocolypseburg, the greatest threat to their world seems to be… brightly colored hearts and glittery musical numbers. Led by WyldStyle and Batman, the lost Legos do their best not to succumb to the suspicious nature of the female-branded toys. (After all, anything that causes Superman and Lex Luthor to become friends must be evil!)

On the other hand, Emmett’s journey to save his friends also brings him into contact with Rex Dangervest (also Chris Pratt), a galaxy-defending space cowboy that trains raptors. Without giving away any spoilers, the inclusion of the dual role for Pratt provides an opportunity to hilariously satire the more ‘masculine’ roles that he has played through his career and lampoon their perceived macho traits. (In fact, the film also includes a cameo by one of Hollywood’s most accomplished action heroes as he mocks one of his most famous characters.) By throwing these two very different gender stereotypes up against one another, The Second Part effectively explores the toxic nature of all labels, encouraging the value of celebrating people for who they are. As a result, there is a divine equality within The Lego Movie 2: The Second Part that acknowledges to our differences and also creates space for celebrating them as well.

While the sequel doesn’t quite carry the same resonance of the first film, the film remains sharp and entertaining with new thematic ground to cover. Thanks to the crazed brilliance of Lord and Miller, The Second Part is funny, self-aware, and more than willing to help children engage in complex topics worth discussion.

So, yes. In the end, everything is still awesome.

Special Features include “Everything is Awesome Sing-along,” “They Come in Pieces: Assembling The LEGO Movie 2,”​ “Emmet’s Holiday Party: A LEGO Movie Short,” “LEGO Sets in Action” (highlighting LEGO product), “LEGO Designers,” “Super Cool Music Video” (by Beck featuring Robyn and The Lonely Island), outtakes and deleted scenes, and promotion spots.

5.10 Deconstructing THE LEGO MOVIE 2: THE SECOND PART

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With the release of LEGO MOVIE 2: THE SECOND PART, Emmet, Wildstyle and the crew find themselves in the worst possible scenario—when everything isn’t awesome. When an attack from DUPLO invaders further disrupts their post-apocalyptic world, Emmett must travel to the far outreaches of the Systar System in order to rescue his friends from the unmalicious queen Watevera Wanabi before she enacts Armomageddon, destroying the entire universe. This week, we welcome back Heather Johnson and Alan Sharrer to talk about the film’s understanding of growing up and the toxic gender wars. 

You can also stream the episode above on podomatic, SoundCloud or on Spotify! Or, you can download the ep on Apple Podcasts, Google Play or more!

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.

5.10 Lego Movie 2 – The Second Part

Thanks Heather and Alan for joining us!