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8.02 Family History in SHANG CHI AND THE LEGEND OF THE TEN RINGS

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In SHANG CHI AND THE LEGEND OF THE TEN RINGS, Sean (Simu Liu) is enjoying his life of simplicity in San Francisco. However, when a group of hired assassins attempt to attack him and his friend Katy (Awkwafina), Sean must re-enter a world that he has left behind in an attempt to stop an old foe from destroying the world. This week, Jason Thai and Daniel Collins drop by to talk about celebrating culture, breaking free from our parents’ legacy, and owning who we are.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play 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.

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Star Wars Visions: A Whole New World

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As a Star Wars fan, I’ve grown accustomed to a certain style of storytelling. Not necessarily because I wanted to… but because I knew that that was just how things were going to be.

Disney bought Star Wars and they had a formula that they wanted to maintain.

This was most evident when Disney first purchased Lucasfilm back in 2014. While the excitement was high for fans about the return of the franchise, the fallout was swift. With the House of Mouse’s desire to control its properties, any books, video games, and comics that were released under the Star Wars label (other than the six films) were no longer considered ‘canon’ and disappeared. (Sigh. Where did you go Dark Forces?) With a single blast from their proverbial Death Star, Disney vaporized such beloved characters as Mara Jade, Grand Admiral Thrawn and more from the Star Wars universe. While some of those characters have been reintroduced over the years, fans were left angered as their favourite tales were deemed unworthy of the next generation of stories. Admittedly, there’s certainly an argument for this decision (after all, Disney couldn’t possible may all these conflicting stories work within their continuity). However, it also limited the space for any real originality to the universe.

Then, along came Star Wars: Visions.

Now available on Disney+, Star Wars: Visions is a 9-episode series of shorts produced by six different Japanese animation studios. Directed in differing styles of anime by different directors, each episode feels like a completely new and exciting interpretation of the galaxy far, far away. 

What’s most impressive though is that, with the release of these shorts, Disney has injected a breath of fresh bacta into the Star Wars tank. Unhampered by the burden of ‘canon’, these visions rely on something much more important: creativity. Like a bolt of lightning, these simple stories have energized a world which had become a little stale. (Aside from Baby Yoda, of course.) For once, Disney allowed their storytellers to develop their own… well… vision for their closely guarded universe, create unique characters and styles that showcase the talents of their artists. Though it’s safe to say that there were certain boundaries given, every short differs wildly from one another and challenges our assumptions about the Star Wars universe. 

A samurai protects a small village from a Sith Lord.

A band of youth embark on a dangerous mission to rescue their friend from Jabba the Hutt.

Two twin siblings battle to redeem (or recruit) the other.

Each individual narrative is fully enclosed with no reliance on the other episodes. That gives each storyteller the freedom to simply dip their toe into the sands of Tatooine without being burdened by larger narratives or story arcs. Most importantly though, they allow the animators to tell their stories in their own voice in their own way. From Solo to Rogue One, there are multiple stories in recent years that site Disney’s penchant to control their IP and has resulted in the firing of numerous directors. However, with Visions, the House of Mouse has turned off the targeting computer and let their animators have the freedom that they need.

And the results are stunning. 

Featuring some truly eye-popping animation, it is refreshing to see the universe stretched with its interpretations. From their use of colour and style to their philosophical conversations, every individual episode feels like a masterclass in anime storytelling. (In addition, the voice cast features some impressive talent as well, including Shang Chi‘s Simu Liu, Henry Golding, George Takei, Alison Brie, Joseph Gordon-Levitt and, of course, Tamuera Morrison returning as Boba Fett.)

In this way, although not quite the restoration of what was lost, these new visions of the Star Wars universe feel like Disney has given a gift to the fans. 

And not just the animators either.

Star Wars: Visions feels like a long overdue gift to those who have been clamouring to hear their own voice represented in the Star Wars universe. Frankly, this begs the question of what could be next? Could there be Star Wars stories told from an African perspective? Indian? Middle-Eastern? The possibilities are endless… and every one of them has the potential to bridge the cultural gap in storytelling as well. No, Visions hasn’t changed the game—but it has provided an opportunity for the world to share in a property that had previously only been told from one perspective.

So, maybe something old really can be new again.

Star Wars: Visions is available on Disney+ on Wednesday, September 22nd, 2021

Shang Chi and the Legend of the Ten Rings: Celebrating (and Owning) Culture

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In Marvel’s Shang Chi and the Legend of the Ten Rings, skilled fighter and assassin Shang Chi (Simu Liu) is confronted by the family legacy and past that he thought he had left behind. His father is known as The Mandarin, the leader of the Ten Rings organization and one of the most villainous people in history, uses a legendary weapon to give himself immortality and power so great that it rivals Thanos’ Infinity Stones. After Shang Chi escapes his father’s grasp and flees to San Francisco, The Mandarin recaptures his son and wants him back in the fold to help with his master plan. 

There has been a great deal of attention lately focusing on Asian hate during the pandemic. (In fact, as crimes and hate against Asians have increased, Shang Chi earned terrible early reviews on Google despite not having been released to the public yet.) However, with an uncompromising vision, one of the best aspects of Shang Chi is that the movie never tries to “whitewash” him or the story to appeal to the general audience. Instead, the film embraces Asian representation and use of culture in all aspects, from the wardrobe, fight scenes, backgrounds, mythical creatures, weapons, and even allowing them to speak Chinese onscreen. 

Like Black Panther’s celebration of African culture, Shang Chi shows the audience just how rich Asian culture can be and how much great talent there is in Hollywood right now that is being overlooked. The whole movie is really an immersive cultural experience and those who have never seen an Asian-led film before are going to be blown away. Of course, it still does also do all of the great things that have made Marvel be so successful as well, such as its trademark witty humor, CGI glory, and super creative/intense superhero fight scenes. (Incidentally, in its set pieces, Shang Chi really creates martial arts scenes that you’d expect to see from a classic Jackie Chan movie, a style which blends really well with Marvel’s cinematography and choreography.) As an absolute huge celebration of Asian culture, Shang Chi is a huge step in the right direction for inclusion and diversity for Disney and the movie industry as well. (And, of course, make sure to stay for both after credit scenes.)  

Marvel’s first Asian led superhero movie, Shang Chi takes its audience on a mythical journey of intense martials art action mixed with a storyline that really speaks to Millennials and Gen-Z’s. Being a second (or longer) generation immigrant, there is often a huge lack of cultural identity. For example, while you may grow up learning bits of your background and know that you are Asian but you may not really identify (or want to identify) with your culture. In this way, you can be kind of tied between your ethnic origins and the culture of the country that you’re growing up within. Especially when as a child, you’re constantly bombarded with media that does not celebrate or acknowledge you. This notion also relates to Shang Chi himself, as his character arc follows the story of a second-generation immigrant who is troubled by his past and the legacy that his father is forcing on him.

Typically, the aspirations of a tiger parent are known for pushing their kid to become something that they don’t want to be. For many Asian parents, this dream is for their child to become a doctor or lawyer. For Shang Chi, however, it’s to become head of the Ten Rings. Wanting nothing to do with his heritage, Shang abandons it entirely by running away and completely disassociating himself with it. (In fact, he’s even ashamed of his true origins.) The relatability of watching him is how a lot of Asians feel about their family and culture too. To these youth, their parents’ culture is something to hide and attempt to break free from. Without giving away any spoilers, it’s only after Shang Chi goes on this adventure and confronts his family and homeland that he reconnects with his roots. In doing so, he begins to feel some pride in who he is and who he can become. (“You are a product of all that have come before you,” he’s told.) Personally, I really believe that the film uses this to highlight the struggle for younger Asians to acknowledge their culture and own their background is a part of who they are now. There is a message of cultural celebration within the film that invites second-generation immigrants to be proud of their heritage, rather than hide or be ashamed of your own race. 

Overall, Shang Chi and the Legend of the Ten Rings is an amazing celebration of Asian culture that was long overdue. By celebrating Asian culture, Marvel has really taken a great step in the right direction at a time when it’s needed. As the latest new character into the MCU, the film is fueled by family ties that really drive the story and demonstrate the struggle of the next generation to connect with their history. 

Shang Chi and the Legend of the Ten Rings is in theatres on Friday, September 3, 2021

Vacation Friends: Real Friends v. Vacation Friends

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

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

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

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

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

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

But when they get home, their expectations are different.

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

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

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

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

Free Guy: Breaking Free from the Background

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Free Guy is an action-comedy film starring Ryan Reynolds as “Guy,” an NPC (non-playable character) meant for the background (and amusement of other real players) in the video game world of Free City, an open world mix-up of popular sandbox games such as Grand Theft Auto, Fortnite, and The Sims. The thing that makes Guy special though is that he gains sentience and develops self-awareness and artificial intelligence. Breaking from the monotony of his Bank Teller job duties, Guy becomes free and goes on one of the most action packed and surprisingly existential journeys you’ll see this year.

Although Free Guy markets itself as just another comedy action film, it’s actually one of the takes an interesting look into the potential future of artificial intelligence, simulation theory, as well as criticizes the monotony of modern life. For those unfamiliar, simulation theory is the belief that we could be living in a digital simulation. In other words, we’re all just AIs who are code living in a virtual world where technology has improved so much that the NPC themselves are intelligent and the digital realm is indistinguishable from reality. Free Guy lives within that premise, as Guy does not know that everything within his world (and everyone he’s ever cared about) is really just part of a video game. 

When Guy discovers that he’s just some background character in a video game, everything feel pointless to him. Guy’s original character cycle is to wake-up, go to his job at the bank, suffer some kind of abuse for a player’s mission in the game, and repeat. Looking at his own life, he begins to criticize all the things people in the city do every day. But it’s also a reflection of our “real” society as well. When Guy says ‘This is all meaningless! This is all fake’, he’s also talking about many of our lives in the real world. Living our lives in the day-to-day, the loop that so many of us are in is essentially the same as some random background NPC character. In many ways, it can feel like we’re all NPCs who just can’t get free and escape. Tasked to serve Free City’s creators, all the NPC’s purpose (including Guy) is to just gain as much money as possible for the business itself. Antoine, the CEO of Free City (played by Taika Waititi), actively declines innovation that isn’t profitable and does whatever he can to squeeze enjoyment out of the misery of the NPCs in Free City, even though he knows that they are self-aware and intelligent beings. The ruler of Guy’s world is the business that he’s a product, not unlike the big businesses that we work for and allow to manage/monetize our lives. 

As he grows in his self-awareness, Guy gathers the other NPCs in order to assist in breaking them free from their work cycles. The speech is honestly pretty inspirational, as it dives into the monotony of their lives and inspires them to pursue what they really want to do with their lives and be free. Obviously, this moment is a message to the audience to wake up and not do things you do simply because you think you have to. You’re not just some background character living for someone else’s amusement. You’re so much more. You have freewill and should use it to pursue what you really want. Like the NPCs within the game, we too have power in real life.

When most people bring up simulation theory, it’s often pretty bleak. After all, you’re just code. Therefore, nothing you do is “real” and that you’re “fake”. Nothing truly matters since everything around you is just more code, more facade. But Free Guy has a positive look into life in a simulation and why it matters. Whether or not you are really in a simulation, you still can live a full and free life. (And honestly who’s to decide what’s real or fake, even if made of code?) If you have intelligence, you have free will. What makes your life any less real than the “real world”? What makes you any less alive? Your life and your friends and family are real to you, whether you’re code or flesh.

Despite the story having one of the most interesting underlying messages I’ve seen this year, it is also an amazing action comedy. While Reynolds excels in these roles, he really comes alive onscreen as Guy. With wonderment and lust for life, Reynolds does a great job portraying a character who is learning what it’s like to be truly alive for the first time. His performance is  hilarious and gives you a sense of joy watching him evolve. 

Filled with video game and pop culture references, Free Guy is definitely targeting the younger generation. As a Disney product, the film takes full advantage of MCU and Star Wars weaponry in the most amusing fight scenes. (This is similar to the partnerships the video game Fortnite has integrated so well into their games.) What’s more, the gaming moments are also done very well. This really feels like a video game, and you can tell that the CGI and special effects team did their homework into other open world games in order to get it right.

Overall, Free Guy is a very pleasant surprise and one of the most interesting and meaningful movies you’ll see this year. With all the video game references and action/comedy that you’d expect from Ryan Reynolds, Guy is great film that gives you both a look into the future of AI and our place in this world.

Free Guy is available in theatres on August 13, 2021.

Jungle Cruise: One Fun Ride

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Even though it’s a blockbuster based on a theme park ride that’s filled with bad puns, Jungle Cruise is one insane trip.

Jungle Cruise stars Dwayne “The Rock” Johnson as skipper Frank Wolff and Emily Blunt as Dr. Lily Houghton. Set in 1916, at the height of WWI, Lily Houghton (Emily Blunt) is a British doctor who reluctantly teams up with Frank, an expert tour guide of the Amazon. Setting sail on his rickety old boat, they go on a jungle adventure to acquire the petals of a magical tree that will change modern medicine and, potentially, even end the war. However, hot on their heels is the contemptable Prince Joachim (Jesse Plemons), a German aristocrat determine to use the petal for his own gain. 

In many ways, Cruise feels like a Marvel movie. Filled with witty and charming banter that’s just plain fun, the dialogue pops like the best MCU moments. In fact, there are moments when hearing The Rock banter with Blunt feels like those conversations between Iron Man and Captain America. The chemistry these two have is amazing and just feels so natural. What’ s more, action scenes are also well choreographed and take advantage of the beautiful amazon setting, including all creatures and supernatural elements that are involved. The over-arching supernatural/magical backstory is much more complex than initially expected which was a very pleasant surprise, especially considering it’s based on a fun little ride for vacationers.  

Personally, I loved that they were able to take an iconic Disney ride and make it into an intense action movie. As the tour guide of the ride, Frank even shares the same bad puns that you’d hear from the famed tour guides on the Jungle Cruise at Disney World. Featuring all the dangers of the island such as the natives and wildlife, Cruise really makes you feel you’re back in Florida on the ride itself (except, in a strange way, it feels even more immersive watching the movie.)  

With an eye on inclusion, Jungle Cruise seems to be one of Disney’s major steps toward “wokeness.” As a woman in the early 20th Century, Dr. Houghton gets absolutely no respect from the scientific community. In addition, her brother McGregor (Jack Whitehall), one of the very few rare gay characters in Disney’s movies, is also ostracized simply for his sexuality., Whereas the action genre is traditionally dominated by straight males, Jungle Cruise utilizes these two characters in a way where that highlights who they were and views them as equal

At the same time, Frank’s character arc is also closely tied with this. Without giving any spoilers, Frank has witnessed the absolute worst of people throughout his life. Broken by the pain of his past, he would rather die than spend another minute alive. However, Lily takes an alternative view. Instead of giving up, Lily sees the horror of this world but actively wants to change it for the better. Despite the frustrations that she sees and has experienced at the hands of a male-dominated society, Lily is committed to fighting for a new future, giving the film a more hopeful edge.  

Led by the dynamic duo of Dwayne “The Rock” Johnson and Emily Blunt, Jungle Cruise has everything you want and more from a Disney action movie. Funny and energetic, the film has an adventurous spirit that should entertain all ages. In short, Jungle Cruise is a fun ride.

Jungle Cruise is available in theatres and on Disney+ Premiere Access on July 30th, 2021.

Black Widow: Good Hair is a Game Changer

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Do I even have to put a SPOILER WARNING here? Because we will be talking about Black Widow, so…yeah…potential spoilers.

I have short hair. Most days I can leave it down and it doesn’t cause any distractions or issues with my day-to-day activities. But, if I’m going to be doing things like cleaning or travelling, I’m going to somehow put it back out of my face and out of the way. The last thing I want to worry about when I’m active is my hair.

Can you imagine fighting to take down the universe’s most terrifying and powerful villains with your hair in your face? Because pretty much until Endgame and this movie, our mightiest female heroes have worn their hair down. And if you’re wondering why I care about this so much, let me explain. But first, a brief summary of where we are now that Black Widow has released.

Eleven years after her first appearance in Iron Man 2, Natasha Romanoff (Scarlett Johansson) is finally getting her story. Set between the events of Captain America: Civil War and Avengers: Infinity War, Black Widow shines the light on the shadows that have been Natasha’s elusive past. We’ve gotten some brief glimpses into her Russian training and connections and we’ve seen hints to the emotional burdens she wears. Since we can’t go back to the very beginning of her story, I wasn’t sure how we were going to see the path between who Natasha was, and who Natasha now is to us.

As she begins her time on the run after breaking the Sokovian Accords, Natasha is pulled back into a mission she long-believed was handled. She describes Budapest (an event she and Hawkeye (Jeremy Renner) recall during the first Avengers), as the final step to her defection to S.H.I.E.L.D., effectively finalizing the cleansing of the “red in her ledger.” But she was wrong. A mysterious package arrives at her safe house with a clue about who needs her and she has to seek out the very people she once felt betrayed by.

In the later movies, Natasha thinks of the Avengers as her only family. But we quickly learn here that she once had a sister, a mother, and a father. Even though it was artificially made as a cover for a covert Russian operation, there were a few years where Natasha had a normal life. But it was not to last.

Her “father” was actually Alexei Shostakov (David Harbour) aka Red Guardian aka Russian Captain America. He and brilliant scientist and fellow Widow (and “Mom”)  Melina (Rachel Weisz) had Natasha and “sister” Yelena (Florence Pugh) under their wing until the time came for the girls to begin their training at the Red Room. Together they must work to finish the mission Natasha started all those years ago.

The target? One of the creepiest villains I’ve seen in the MCU yet, Dreykov (Ray Winstone makes him almost TOO real). Mastermind behind the Red Room – an elite training facility that transforms orphan girls into world-wide assassins that work to keep Dreykov in power over the world’s most influential leaders – Dreykov has perfected a mind-control serum with Melina’s genius that ensures his Widows will deliver on his every command. He exploits both their vulnerability and sexuality and rewrites their reality – until Yelena defects and Natasha jumps in to free the Widows from Dreykov and destroy the Red Room for good.

How does any of this lead into a conversation about hair. Well, let’s think about it. For one, Black Widow’s hair has been a topic of conversation since Johansson brought her to life on the big screen. People complained it was too short, it was too long, it was too curly, it was too straight, it went blonde, etc. Here we have someone who regularly takes out pretty scary and powerful enemies, and we are talking about if her hair is right to the character. Dude – I just always wanted to know why it was down? In Endgame, we finally see her hair up for most of the movie, maybe because in space it’s more acceptable? Or because the scene had been set for years’ worth of searching for ways to undo all that Thanos had destroyed, and suddenly it didn’t matter? For whatever reason, I was thrilled to see exceptionally powerful women go into full battle mode with their hair up in Black Widow.

The contrast between Yelena wearing her hair up from the beginning but Natasha evidently having had to take a journey for it to be acceptable to wear her hair up is hopefully a glimpse into the future treatment of female super heroes in the MCU. Yelena has the same sarcastic wit of Captain Marvel, the same desire for what was fake to be real as Wanda, and the same moral compass of Gamora’s change of heart. She is set up to take on the mantle of Natasha and she’s not here to play games. And as silly as it’s going to seem to people, seeing her with her hair up throughout the film gives me confidence that female superheroes are being equipped to fight the same battles as their male counterparts. In continuation of illustrating this point, I give you the original Avengers:

  1. Captain America. Helmet. I don’t know how effective it is but it’s there. And he’s enhanced.
  2. Iron Man. Obviously. And he’s enhanced.
  3. Thor. Yes his hair is down but he can also fly and call lightning to his very hands. And he is a god.
  4. Bruce Banner. One word: Hulk. And he’s enhanced.
  5. Hawkeye. No head covering, but he mostly fights from a distance…because you know, #bowandarrows.

Captain Marvel had a helmet and a much more protective suit but, to this day, people condemn her character – even though she has been the closest one to receiving equal treatment. And she’s enhanced. Natasha fights on the ground, hand-to-hand, and her hair is curled and flowing the whole time. Now I don’t know much about the comics, but, as an average movie-watcher, it’s always bothered me. So forgive me if such a trivial detail has had such an impact on me. Because it demonstrates strength. And it’s just one piece of how Black Widow successfully created a storyline laced with vulnerability in such a way that made the women stronger as opposed to needy. Hair down to hair up is a key element of this transformation.

For years, Dreykov (Ray Winstone and one of the creepiest villains-to-date) exploited the emotional vulnerability and the sexuality of orphaned and discarded girls and controlled them in order to maintain his power over the world’s most influential leaders. We know this because we have seen Natasha use it in previous films, whether she is using staged modelling photos to distract Tony from her identity or secretly interrogating Loki by using her past as a tool to get what she wants out of him. She was trained to do that, and so were the hundreds of Widows trained after her. The ponytail, the braids, even the earrings…all of them work together as a visual representation of the strength of these women to do what needs to be done. In Black Widow, they are being freed from the constraints of how they have been viewed and used by those around them.

And for me at least, it’s about dang time. If I’m not going to clean with my hair in my face, I sure as heck ain’t saving the world with it in my face. And now my heroes don’t have to either.

Black Widow is now available in theatres and on Disney+.

7.20 Sympathy for CRUELLA De Vil

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In Cruella, Emma Stone brings the backstory of one of Disney’s most famous villains to life. Well before there were 101 Dalmatians, Cruella De Vil was an aspiring fashion designer. However, when she matches wits against the (even more) evil designer, The Baronness (Emma Thompson), Cruella and her friends Jasper and Horace must scheme to bring down London’s queen bee. This week, Allen Chabot, Mira Ibrahim and TeenFish’ Daniel Collins return to talk about having sympathy for our villains and walking the line between redemption and revenge.

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.

7.20 CruellaDownload

Cruella: When Black and White Turns Grey

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Bold. Complex. Mesmerizing.

And, by far, the best Disney live action yet.

Yes, I am talking about Cruella with Emma Stone and Emma Thompson. Not one who typically flocks to live action Disney features (call me too sentimental for my 90’s animated favorites), this movie blew every expectation out of the water. The tapestry of this story weaves together color, creativity, and character development in such a way that every moment kept me engaged. I’m still sitting here with my mouth agape as I play it all back in my head.

Set against the backdrop of 60’s and 70’s London, young Estella works to be the good girl that her mother encourages her to be. With her uncanny style, unfiltered opinions, and explosive personality, playing nice isn’t exactly second nature to her. But for the sake of the mother she loves, Estella (Emma Stone) navigates both trauma and genius to stay as she is, until Cruella fully emerges from the depths in retaliation of a painful truth. Consumed with taking out her former mentor and now-enemy the Baroness (Emma Thompson – absolutely perfect), Cruella subverts the Baroness’s grip on the London fashion scene with a rock star edge and in-your-face theatrics. With the help of long-time partners in crime, Jasper (Joel Fry) and Horace (Paul Walter Hauser) and a team of nonconforming designers including Artie (John MCrea), Cruella is on the precipice of being unstoppable. But will she survive her own ambition and vengeance?

As an origin story, the set up for the characters and storyline of 101 Dalmatians is well-placed and subtle. Anita and Roger fade in and out just enough to play key roles without overshadowing the heart of this story. We get to the root of Cruella’s obsession with dalmatians, and Jasper and Horace are elevated to relatable characters as opposed to bumbling second-rate thieves.

But this movie has its own heartbeat – one that loves and bleeds – and Stone’s performance is the soul of the film. Her transformation from Estella into Cruella kept me in a state of “is she or isn’t she” the unfeeling villain we’ve seen before now. Against the backdrop of the statement black and white color scheme, there was a grey in-between for me. Behind every villain there is a beginning, and that beginning isn’t always evil. And the other side of that coin is that behind every hero, that beginning isn’t always benign. Morality can get murky depending on a variety of factors and influences, and Cruella really hit that point home.

It’s an exceptional film with layers of development, visualization, ambition, and even heartbreak. And it’s a testament to both the writers and the cast that with every turn I was invested in characters that I’m supposed to define as “bad guys.” Did I close my laptop ready to absolve them of them crimes? No. But did it remind me that our stories are rarely as black and white as we think? Definitely.

Cruella opens in theaters and is available with Disney+ Premier Access on Friday May 28th, 2021.

Launchpad – Disney’s Gift of Shorts

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I’m always happy to promote short films as part of the entertainment landscape. Often the only chance people get to see shorts is at film festivals or during the Academy Awards season. But now Disney has created a program of live action shorts streaming on Disney+ called “Launchpad”. Disney describes the goal of “Launchpad” as “to diversify the types of stories that are being told and to give access to those who have historically not had it.” For their inaugural series they have chosen six filmmakers from underrepresented backgrounds. The theme for this set of shorts is “Discovery”. The films included in “Launchpad” range from 14 to 20 minutes.

American Eid, from Aqsa Altaf, tells of a Pakistani family that has recently moved to the US. It is seen through the eyes of the two daughters, one who is trying to fit in, the other seeking to hold on to the traditions that are meaningful to her (like getting out of school for the Eid holiday). This was my favorite of the strong field.

Dinner Is Served, from Hao Zheng, is the story of a Chinese student at a ritzy school who desires to be the dining hall maître d’. He sees it as being recognized for his abilities. But it may not be how others see it.

Growing Fangs, from Ann Marie Pace, is the story of a Mexican-American teen from a mixed marriage—human and vampire. She doesn’t fit in with her human friends and is afraid to let the monsters at her new school know the truth about her parentage. This is the film with the best humor and most imaginative concept.

The Last of the Chupacabras, from Jessica Mendez Siqueiros, is another light-hearted (but not without meaning) story. The last tamales cart vendor in LA discovers a Chupacabra in her yard after an earthquake. It’s not as terrible as legend suggests.

Let’s Be Tigers, from Stefanie Abel Horowitz, is the story of a babysitter who is trying to cover up the grief over the death of her mother. Of course, sometimes it can sneak up on you.

The Little Prince(ss), from Moxie Peng, tells of two Chinese school kids who become friends, but the father of one of the boys is taken aback by his son’s friend’s affinity for dolls, pink, and ballet.

All of these films allow us to see people discovering themselves. Most of them also deal with the tensions of culture and tradition—of holding true to one’s values while trying to fit into a world that may not have those same values. The discoveries that the characters make in these stories show that we can often affirm both worlds if we are willing to be honest with ourselves.

I will confess that I often look at Disney as a behemoth—a cinematic/business empire that takes what it wants and only cares for the bottom line. That allows them to make lots of movies we all love. But it also sometimes makes them seem like they like to throw their weight around. But “Launchpad” certainly does not fit that image. These shorts are a nice gift that Disney has given us. It not only gives us a chance to watch some shorts, it also is giving wonderful opportunities to filmmakers who have a hard time finding ways to tell their stories.

Photos courtesy of Disney