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where faith and film are intertwined

Disney

Mulan: No Courage Without Fear

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Mulan (2020) | Disney Movies

Disney is at it again.

Bringing the heroine Mulan to life, Disney continues their streak of producing live-action versions of their animated classics.  As with other recent live-action Disney films (Aladdin and Mary Poppins Returns come to mind), Mulan is filled with stunning colours and visuals.  It offers impressive cinematography, including great camera tricks during fight scenes.

Just like the 1998 animated film, Mulan is based on the Chinese legend of Hua Mulan.  Less prim and proper than the typical girls of that culture and time period, Mulan (Yifei Liu) is more of an adventurous free spirit.  At that time, girls were expected to bring honour to their family by marrying a good husband.  Understandably, Mulan seemed completely disinterested in being married off to someone she didn’t know yet she is reminded that, as a daughter, she needs to learn her place.  

Mulan will be streaming on Disney Plus — for an extra $30 - Vox

Fans of the original Mulan will notice a number of changes to the story, such as the addition of a new female villain.  Initially, I was concerned that a villain with magical powers (more specifically, a witch with shape shifting abilities) would seem a bit silly or unrealistic but I admit that Xianniang (Li Gong) was one of my favourite aspects of this new installment.  It was fascinating to see the yin-yang relationship between Mulan and Xianniang.  Though using her powers for evil, Xianniang knows exactly what Mulan is going through as both women have strong Chi.  But how could that be?  At that time, people seemed to believe that Chi was for warriors, not for women.  Despite being on opposite sides, there is an understanding and respect between these women.  I appreciated that it wasn’t a typical “good guy/bad guy” relationship.  

Live-Action MULAN Makes Big Changes, for Better and Worse - Nerdist

By taking her father’s place in the army, Mulan does the respectable thing as there were no other men in her family.  She knew her father would not survive another battle.  He could barely walk as it was.  However, she had to do this in secret as a woman would never be accepted into the army.  She had to hide who she was and pretend to be just another man.

When Mulan finally chose to reveal her true self, that is when she became her strongest and most courageous.  The only thing that mattered in that moment was doing everything in her power to save lives.  She longed to bring honour to her family, but in her own way.

Mulan Available to All Disney+ Subscribers in December, No Extra Fee - Variety

Mulan’s father, Zhou (Tzi Ma) always said that “there is no courage without fear”.  During her journey, Mulan gets to explore this idea and really come to understand its meaning, particularly in the setting of a war.  I think that it is a very fitting lesson for this film.

Although the bulk of the film is based during a war and included a number of fight scenes, they refrained from any blood and gore.  With a PG-13 rating, I think the live action Mulan should be appropriate for most older children but I wouldn’t suggest showing it to the younger crowd.

Although not the groundbreaking film I thought it could have been, Mulan was very entertaining and I would recommend it.  The cast was perfection and I believe they did the animated classic justice.

Mulan is streaming now on Disney+.

Artemis Fowl: The Ways of the Father

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Blues Brothers, where are you?

Since I’m not a huge fan of the Artemis Fowl series, I’ve decided to allow someone who is the ability to share their thoughts. In this case, it’s my daughter Rebecca.

Here’s what she had to say . . .

I started reading the Artemis Fowl series one day in my sophomore year of high school and immediately fell in love with the sarcastic criminal mastermind that the books are named after. I loved the way that Holly Short used her wits to make the best of every situation. I ravenously devoured the series and was quite delighted–and at the same time annoyed–with the ending. When I discovered that Eoin Colfer was writing a second series starring some of Artemis’ family, I was ecstatic. Then I heard Disney was making a movie and began counting the days until it landed on Disney+.

I was able to watch Artemis Fowl recently and was immediately struck with the remembrance that Colfer made changes to the film so it would fit what he had originally planned for the series. If you’re a fan of the books, prepare yourself in advance for some deviations. Overall, the movie has top-notch CGI and is a thrilling fast-paced adventure that leaves you hanging off your seat, waiting for more. Thankfully, the movie paves the way for a sequel and is a good reminder that, as we prepare to celebrate Father’s Day, we need to be thankful for the dads in our lives.

Set along the shores of Ireland, a place where magic seems to be present everywhere you look and home to Fowl Manor, where Artemis Fowl (Ferdia Shaw) and his father (Colin Farrell) live, this movie shows the majestic wonder that is the surface world. Artemis does not believe in the fairies and magic, but grew up being told tales of them by his father. Artemis’ father is captured by a mysterious person and the world seems to come to the realization that the Fowls are criminal masterminds (which isn’t far from the truth, actually). The mystery person calls and makes a deal with the young Artemis Fowl: his father in exchange for a mysterious artifact of the fairykind.

Peek-a-boo!

Cut to the underground world, where it is discovered that this artifact is already missing, and we meet the young (at least in fairy years) Officer Holly Short (Lara McDonnell), the daughter of the fairykind traitor, Beechwood Short. Holly is assigned a mission to the surface world by gravel-voiced Commander Julius Root (Judi Dench) and, at the same time, Artemis discovers that the world of the fairies is real and he begins to put together a plan to save his father. This part is almost identical to how it is in the books, with Holly being captured and used as bait by Artemis for the fairies. Mulch Diggums (Josh Gad) is brought in, ultimately finds the artifact, and Holly uses it to save Artemis’ father from the evil Opal Koboi, and return home safely. At this point, cue Artemis and the others becoming a team and preparing to kick Opal’s butt.

Despite the fact that he is indeed a criminal mastermind, Arty’s dad loves him very much and tries to spend as much time with him as possible whenever he is home. It’s pretty evident that Artemis’ father wants the best for his son–even to the point that he’s already prepared the way for Artemis so that, in time, he will discover everything his father has prepared for him. To this end, Arty’s father has provided his child a journal with all of his notes inside. In the same way, Arty’s father is like our father in heaven. God has prepared the way for those who love Him and His Son Jesus while providing resources like the Bible to read and put into practice. In addition, Artemis’ butler and his niece Juliet are there (just like fellow believers) to help Arty along the way–no matter how uncertain life seems. It should give us great comfort, therefore, to know God is always there for us. Perhaps it would be a good idea, on occasion, to tell Him “thank you” for all He’s done.

Of course, telling Dad the same thing (and giving him a hug) wouldn’t hurt either . . . 

Wendy: Forever a Child

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I grew up with the 1960 version of Peter Pan starring Mary Martin, so much so, I can still sing “I’m flying” by heart. And something about the story of the boy who would never grow up has followed me around like a shadow, because I have kept a soft spot for all things Peter Pan. Maybe it’s the dream of eternal youth…maybe it’s the thrill of childhood adventure where anything can happen…maybe it is the journey of walking the line from childhood into adulthood and how we somehow strive to live in both worlds as we press on.

Whatever it is, I was looking for it in Benh Zeitlin’s Wendy, a film that dances between the well-known lore of Peter Pan and an eccentricity that is encompassed by an earthy realism of cinematography. Having never seen Zeitlin’s Oscar nominated film, Beasts of the Southern Wild, I wasn’t sure what to expect with this adaptation. And, truth be told, I sat kind of stunned and unsure of how I felt when Wendy was over.

With a cast of newcomers and unknowns, Wendy transports the viewer from a busy diner by the tracks to an island inhabited by lost boys, a mysterious group of aged adults known only as “the Olds,” and an underwater fish-like creature called “Mother.” It’s during their time here that Wendy (Devin France), and her brothers Douglas and James (twins Gage and Gavin Naquin respectively) latch onto the adventures of Peter (Yashua Mack) with the same determination to never grow up and lose the fun of being a child. While the basic storyline of a more typical Peter Pan is in tact, the expression of it couldn’t be more different. Where one might anticipate fanciful colors and scenery, Wendy is muted and dusty. Where one would look for good natured fun mixed with sword fights and fairies, Wendy borders on being too serious, pirate-less, and the only mythical creature we really see is the mother who lives under the sea. I squirmed through it, wondering where my beloved story was. 

The setting was part tropical island, part decimated war zone, creating a clear visual between the life of youth and the death of aging. There is a brief backstory to the destroyed living quarters of the Olds and how Peter came to be, but honestly I couldn’t follow it. Or was it because I didn’t want to, as this was just not Peter Pan? 

There were more elements that I simply didn’t care for, like the fish-like creature, “Mother,” and how far deep into the ocean the children had to swim to see her. James’ and Douglas’ storyline was heart wrenching, and at times I couldn’t help but want to yell at Peter for being so careless about those he is supposed to care for. Peter seems to always have that tendency of selfishness, yes, but this took it too far me. And while the ending was what it had to be, I still was dissatisfied with what I had just watched. And yet.

And yet I felt something nagging in my mind for days after. No, the story I loved wasn’t there on the surface, but the poignancy of Zeitlin’s adaptation wouldn’t leave me alone. With the majority of Peter Pan stories, it’s easy to embrace and then move on from the point that we have to grow up and leave childhood behind. But Wendy doesn’t really let you “move on.” I was left contemplating, and deeply, the implication that in transitioning from childhood to adulthood, there is death. There is that part of us, whether we call it innocence or naivety, that is lost and forever. We may cling to it or try to reclaim it, but the truth of our realities drowns out the fantasy. If Wendy and her brothers aren’t completely immune to it, how can I expect to be safe from it as well? We all have to grow up.

But that doesn’t mean that innocence in childhood is free from the worries of the world. This film displays just how messy childhood is. There is loss, there is pain, there is darkness. Grief knows no age limit. We do our best to guard and shelter our children but in many ways, they are on the front lines of life. They see and hear far more than we realize, and so their feelings dwell from depths unexpected. Being at home with four kids right now, who have been forcibly detached from their friends and families, has provided a crash course in just how easy it is to both under and over estimate their feelings and adaptability. They are resilient, yes. And often, the role of protector and comforter is transposed from us to them. When we hit the walls of realization that we “can’t go back,” they are the ones taking us by the hand and leading us off into a new horizon.

I am so guilty of simply assuming that because they are strong, they are ok. They run through the yard on invisible adventures, create entire worlds on paper and in their minds, and spend hours exploring the depths of their imaginations. But at night the fear creeps in. The unknown darkness overwhelms them as they finally focus on the changes the world is throwing at them, with their minds and bodies exhausted from it all. They turn to me, seeking peace and safety, and what can I offer? How do I balance hope with reality with the same grace and confidence that they do? Who am I to lead them, when I so desperately long to be them?

If I take anything with me from Wendy, it is that to be a child isn’t just to be innocent and carefree…to be a child means to hold onto life, with all the joy and all the sadness it brings. Yes there is fear and doubt, but there is also peace and hope. We are all children when we look at the world in front of us, in the midst of the good and the bad, and believe that “to live will be an awfully big adventure.”

Wendy is available on VOD now.

Real-Life Adventures: 1on1 with Keith Scholey and Roy Conli (DOLPHIN REEF)

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Produced by Roy Conli (Born in China) and directed by Keith Scholey and Allistair Feathergill (Bears), the documentary Dolphin Reef tells the story of Echo, a young Pacific bottlenose dolphin who is learning how to navigate life in the deep blue sea. Dolphin society is tricky, and the coral reef that Echo and his family call home needs each species to play their part. But the young and impetuous Echo has a tough time cannot help himself from diving into the many adventures the ocean has to offer. Asked how they got such incredible footage, Scholey notes that the process of getting dolphins to trust you is challenging at best.

“Step one is a lot of research to find the few places where you can get those sorts of things,” Scholey begins. “Like most dolphins, if you hop in with them in the water, you’ll just see a tail vanishing into the blue. There are actually very few pods around the world that will actually accept you, especially in scuba. We needed to have dolphins that were very comfortable around a diver so we found a few remarkable places where that could happen. Then, once you’ve got that trust and it’s all cool, then you get to work. But even then, the thing that underwater film making is that you’re just getting snapshots. With dolphins, you follow it as long as it tolerates you. The moment it’s bored or had enough or got something else to do, it’s just a little flick of the tail and, boom, it’s gone. Then, you have to get out of the water and try again. It’s a far more labour-intensive process making an underwater film.”

When assembling the narrative for a nature documentary, the process requires shooting hundreds (or even thousands) of hours of footage and then attempting to compile them into a cohesive story. Despite the incredible amount of work involved, one might think that Echo’s story was really a number of different dolphins cut together. Even so, Scholey acknowledges that the core of the story remains one dolphin and his pod.

“The core of the story is actually one group of dolphins which are in the Red Sea,” Scholey explains. “The mother and Echo are the characters that make the core of the story. If we could follow them where ever they went, that would’ve been fine, but we can’t do that. So, what we had to do is go to other places to pick up other elements of behavior. I look at the film as what might the life of a dolphin be like. It’s physically impossible to know the whole story because we can’t follow it. What we tried to do from all the science and all what we know about dolphins is put together a narrative that is true to a life of a dolphin and I think we’ve achieved that.”

While Scholey has been involved in documentary filmmaking most of his career, producer Roy Conli’s journey to nature films has been comparatively brief. Having begun in the world of animation, he began to work with Disneynature in 2014. Now working in both industries, Conli feels that the partnership between the two areas has been mutually beneficial when creating narratives.

“I’ve been very fortunate in my career because I work with a lot of incredible artists on both the documentary side and on the animation side,” he points out. “I was approached back in 2014, right after I completed Big Hero 6 and asked if I would like to help out on the story of Born in China. I jumped at the chance for two reasons. I thought that the director Lee Chuan was quite amazing, but also I’ve been giving to the snow trust for many, many years. I’m a big fan of snow leopards. That kind of drove my activism, or at least, my interest in the environment. Working with guys like Keith and his partner, Allister, have been just an amazing honor. I think the animation storytelling feeds the documentary narrative. We like to call [our stories] true-life adventures, much like Disney’s true-life adventures from the 50s. I basically help these guys who bring me the stories and we just try and push them to make them as open [as possible] to the broadest possible audiences that’s available.”

“It’s been fantastic for us as well,” Scholey echoes. “We come from a pretty conservative wildlife filmmaking background. Coming together with the Disney animation team and developing stories with them has been a fantastic experience. You can see the synthesis of those two groups of talented people [when you watch].”

What’s more, Conli reminds us that, even though the Disneynature brand is only ten years old, Disney’s interest in wildlife filmmaking extends back for decades.

“Disney was one of the first nature filmmakers that actually got stuff out there,” he chimes. “When you look back in 1948, it did a whole series up through the early sixties. Then, you see what companies like Silverback have done [in recent years] and what they’ve brought to the table with Earth and the amazing work that they’ve done. It’s just wonderful partnership.”

“From the personal side, I grew up on the true-life adventures as a kid,” he continues. “I’ve seen them on Sunday evenings on Wonderful World of Disney. I was living in the suburbs of Los Angeles with not much connection with nature. They were the things that kind of opened me up to the wonder of the world. That’s what I want to share with families and kids that wonder and hopefully the care that we need to share with these incredible creatures and the support we need to give them. We are all one on this incredible planet and I want to get that message out to kids.”

Central to the message that they want to communicate is the fact that natural wonders like the reef are struggling and that we must do our part in helping preserve these underwater havens. Thankfully, despite the damage that has been done, Scholey and Conli both believe that there is hope that things can change for the better..

“The oceans, by and large, are in trouble,” Scholey replies. “Coral reefs are in big trouble. It’s almost our duty to get the message out that actually these are some of the most incredible and precious things we have. We have to get that to young people because they are the future. If the young people can fall in love with the ocean and its creatures, the oceans have a hope. That’s why I make these films. That’s the goal.”

“I don’t think there’s anything more beautiful than a healthy coral reef,” responds Conli. “In the 1960s, there were only a thousand whales off the coast of Hawaii. Now there are over 10,000 whales. This is all because there is hope. There is a way of bringing this back and we just as a society, as a population, as humans need to support that.”

While the film’s primary focus is the wide variety of sea life, it also carries with it an intentional message of what it means to co-operate as an ecosystem. According to Scholey, the subtle message of togetherness stemmed from the relationships required to maintain the health of the reefs themselves.

“The whole idea of the film is actually based on very hard-nosed ecology,” he clarifies. “The coral reef can actually only functions with a lot of participants doing different roles in a very ordered and organized way. It is fascinating that if you remove sharks from a coral reef, the whole ecosystem is degraded. We made a big effort to say sharks are not in the bad guys. Our reefs need sharks and this is the same with dolphins and predators and so on. In a way, [community] is the underlying message of the film. If anyone who watches the film comes away thinking, ‘if you live in the ocean, you need friends’, that for us is a success story. Then, we hope that will translate into you can’t just start overfishing certain species because the community will not survive if you kind of do that. So, there is a bigger message in the film. It’s not in your face. It’s just there.”

Of course, every doc requires someone to translate what’s happening onscreen and, for this real-life adventure, Conli was thrilled when Oscar-winner Natalie Portman came onboard the project.

“She does a great job,” he beams. “She was living in Paris a while back and she went to a screening of one of our Disneynature films… and she expressed that she was interested in actually voicing one of these. She had brought her children to the screening and she was truly impressed. If you know anything about Natalie, she’s a really impressive artist, but an equally impressive activist. So, this was something that was right up her alley. When we contacted her, it was a very easy sell. In fact, she was ready to jump in immediately. When Keith and I recorded her in Los Angeles, she was just phenomenal. She was interested in the film. We would talk to her about the specific parts and what was happening in terms of the behavior and she was just able to take that. I think it was such a spectacular job.

Even though both men have a great deal of experience working in the natural world, there is always room to learn. In particular, Scholey believes that aspects of sea-life that caught his attention were the aggressiveness of humpbacks and the incredible intelligence of dolphins.

“When we film the whale parts actually fighting each other [impressed me],” Scholey recalls. “We all think of kind of whales as being kind of gentle Leviathans and the energy and power of humpback whales when getting heated up is pretty astounding. But I think for me the real thing was that [even though] I always knew dolphins were smart. I always knew they were great but I just came away from finishing the film thinking that this is definitely an animal that’s on our level, in terms of behavior, smartness, culture. They work in different kind of environment a different way, but you just have to look at them and think [that they] are on our level. Maybe one day we’ll be able to talk to each other. That was certainly my take away.”

“The filming of that was phenomenal because that was above water, below water and the developing special pole cam to be able to get that underwater was amazing,” Conli agrees. “I was just blown away by the mud rings that they use. That takes place off the coast of Florida and Alabama, I believe. Just the amazing cooperation between them in order to catch fish and share the bounty. It’s pretty impressive. They’re the only animal we know that can really design a kind of a trap and then cooperatively use it. It is extraordinary.”

Dolphin Reef also shows the incredibly advanced communication between dolphins that allows them to move in sync with one another, something which continues to impress Scholey and his team.

“The communication between dolphins is extraordinary and they can completely mimic each other’s behavior without seemingly talking to each other,” he says. “[There’s a] very high-pitched communication and probably telling each other and exactly what they’re going to do next. But it’s so fast and they can so quickly react to each other. There [were] amazing experiments done on dolphins in the 70s and 80s in captivity where dolphins could they prove they could talk to each other. Mom was told to do a trick and they could tell the other one, ‘Hey, I’m going to do this trick’ and they would do it exactly together in synchrony. So, there’s a level of sophistication to their communication behavior, which is way beyond our understanding.”

With all their combined experience between them, both Scholey and Conli admit there is still much more that they want to see and explore about the natural world.

“I think that what’s happening with natural history now, what we know now is we can just always do it so much better,” Scholey reflects. “There are two reasons for that. One is the scientific knowledge about animal behavior is getting bigger and bigger and bigger though. There are scientists in the field who really getting to understand different things so they can help us to get that insight. At the same time, technology is getting better and better and better so we can do the things we couldn’t do before. I think that the thing is, as opposed to really going and finding completely new creatures and creating new things, it’s going back to the ones we know about being able to reveal so much more about them in such exciting way. So that that’s, that’s the thing. I think the place we are, we are now. Mind you, at the same time almost all the natural world is declining all around us. So it’s kind of almost a race against time to get these moments.”

“It’s interesting because I started with my favorite animal, which is probably the snow leopard, but coming up we have an elephant film that’s just stunning,” points out Conli. “We’re also working on a polar bear film. Talk about how important that is right now because it really is focused on survival, on the absolute survival of the planet and the species. So, you know, I think the more we can tell these stories, the more we can share with the populace, the better.”

For full audio of our interview with Keith Scholey and Roy Conli, click here.

Dolphin Reef goes under the sea on Disney+ on Friday, April 3rd, 2020.

Dolphin Reef: Together, Under the Sea

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When you stop to think about it, it really is remarkable how far nature documentary filmmaking has come over the last decade or so. Spearheaded by new technology and funding, series like Planet Earth, The Blue Planet and more have provided stunning natural footage and information that restore a sense of wonder in the eyes of the viewer. In addition, with the development of their Disneynature brand, the House of Mouse has reinvented their own interest in the natural world. While Disney’s earliest series included documentary stories on the Wonderful World of Disney, Disneynature films show a renewed commitment to not only ‘wow-ing’ the audience with spectacular footage, but also telling stories in the natural world that engage the heart and soul as well.

Premiering April 3rd, 2020 on Disney+, Dolphin Reef is yet another example of these engaging natural adventure stories that focuses on Echo, a young Pacific bottlenose dolphin who is learning how to navigate life in the deep blue sea. Dolphin society is tricky, and the coral reef that Echo and his family call home needs each species to play their part. But the young and impetuous Echo has a tough time cannot help himself from diving into the many adventures the ocean has to offer.

Directed by Keith Scholey and Alistair Feathergill (Bears), Reef unfurls multiple narratives about a variety of species and their quest for surviving and thriving in the ocean. Scholey and Feathergill show their considerable experience and skill as they get up close and personal with a variety of creatures, revealing their unexpected traits and abilities. (Who knew that dolphins could trap fish by creating dust circles?) While the emphasis may be Echo and his pod, there are also incredible ‘character arcs’ created by way of humpback whales, a coral shrimp and even parrot fish. What’s more, Oscar-winner Natalie Portman’s narration brings a playfulness to the narrative that works well with the content, especially in moments where Echo appears more precocious.

Most surprising about the film, however, is the fact that Dolphin Reef highlights nature’s inherent desire to create and thrive in community. Whether it’s the eating habits of parrot fish or a whale’s ability to call for help, each species within the film demonstrates the necessity of working in tandem with one another. Though we’ve heard for years that the earth’s vast eco-system works together in order to sustain life, Reef reveals how complex and subtle those relationships may be and the value of living together. (In fact, the film even shows the damage that takes place to the coral reef itself when a species does not do its part.) In doing so, Dolphin Reef reminds the viewer about our innate desire to create healthy community and the importance of remaining active to support one another, be it at the natural level or making a conscious decision. Interestingly, while never explicitly stated, the film also serves as a subtle reminder of our own role in the world’s ecosystem as well. In other words, by focusing its narrative on nature’s reliance upon different moving pieces to bring life, Reef shows the importance of interconnectedness within our world and implies that humans play a key role in this as well.

In the end, Dolphin Reef is a charming look into the world of wildlife under the sea that is as informative as it is engaging. Echo’s journey is playful, fun and, at times, harrowing. However, more importantly, the film also implicitly acts as a call for those of us above ground to recognize our own place in the natural world and how we can become healthier members of it.

For audio of our interview with director Keith Scholey and producer Roy Conli, click here.

Dolphin Reef swims onto Disney+ on Friday, April 3rd, 2020.

Self-Isolation Film Festival: Ralph Breaks the Internet

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Life is going along just fine, but then a virus begins spreading, threatening everything and everyone. That is a scary prospect. How is someone supposed to respond to such a crisis? That’s a problem raised in Disney’s Ralph Breaks the Internet. So, as we continue our own struggle with a threatening virus, perhaps we can learn something from this animated tale.

This film is a sequel to Wreck-It Ralph, and focuses on the same two main characters, Ralph (voiced by John C. Reilly), a somewhat dim video game character who destroys things, and Vanellope (Sarah Silverman), a cute, but sassy video game racecar driver, who happens to be a princess. In the first film they bond into a great friendship. In this film, when Ralph tries to make Vanellope’s game more challenging for her, he unintentionally causes the game to be broken. Without a new part (only available from eBay) the game will be sent off to salvage. In an effort to save the game, Ralph and Vanellope set off into the unknown world of the internet.

The film is a delightful look at this virtual world we so often tap into (as you have to read this). Of course, Ralph and Vanellope have no idea how any of that works, so their trip becomes a bit complicated. Along the way things like YouTube, search engines, and Twitter are gently teased. One of the most fun subplots deals with Vanellope encountering all the Disney princesses. The film shows that the Disney studio has enough of a sense of humor to parody itself.

But Ralph and Vanellope’s friendship is put to the test when Vanellope wants to stay in an exciting, violent driving game. Ralph, wanting to save their friendship, takes a virus to the game. But because he has ruined Vanellope’s chance for enjoyment, this may be the end of their friendship.

The key part of the film I’d like to focus on for these days of COVID-19 is the last 1/3 of the film. It is then that the virus escapes the driving game and is at large in the internet. The virus finds insecurity and begins copying that. And since Ralph is so insecure in his relationship with Vanellope, soon there are zombie-like Ralph clones everywhere, threatening to overwhelm the entire internet.

This film isn’t about the disease that has us self-isolating in our homes; it is about the other virus that has attacked our culture: the virus of insecurity and fear. Why are the store shelves empty in the toilet paper aisles? The virus hit us. The virus that made people afraid of what was coming. And when others heard that people were buying up the toilet paper, they made sure they’d have enough for the rest of their lives. And it grew and grew, like the viral Ralphs, until things started to fall apart.

We are reliant on the scientific community to help us deal with the Corona Virus, but we need to look within ourselves and our community to overcome the secondary virus. There will be toilet paper again. There will be eggs, and soup, and hand sanitizer. So, don’t let insecurity deprive others of their needs. Share. Care. Those are the cures for this secondary virus.

Ralph Breaks the Internet is currently streaming on Netflix and Disney+

Ahsoka’s Universe: 1on1 with Ashley Eckstein (STAR WARS: THE CLONE WARS)

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It’s not every day that one gets the opportunity to speak with Star Wars royalty.

Since her introduction in the first season of Star Wars: The Clone Wars as a young Jedi-in-training, Ahsoka Tano remains one of the most beloved characters in the Star Wars universe that doesn’t carry the last name of Skywalker. Voiced by Ashley Eckstein, Ahsoka’s journey from precocious padawan to confidence and maturity is one of the great character arcs within the Star Wars canon.

With the latest—and truly final—season streaming on Disney+, Eckstein finally has the chance to revisit the beloved character and allow fans the opportunity to see what she’s been up to since she abandoned the Jedi Order. Asked why she believes Ahsoka resonates so deeply with the fans, Eckstein believes that the connection stems from the amount of time that they have had watching her grow and mature.

“With Ahsoka, there are very few characters, in Star Wars especially, that span a generation. An entire generation of fans grew up with Ahsoka, whether they were kids when Clone Wars first came out and it was their first introduction, or maybe they were parents watching it with their kids or whether it’s lifelong fans that went on this journey. The fans truly went on a journey with Ahsoka and she became the eyes of the Clone Wars. She was really the eyes of the audience and they really connected with her.”

“Something that Dave Filoni and his writing team did so brilliantly is that everyone relates to Ahsoka. I think in the very beginning, we never pointed out that she was a girl. We literally threw her gender out the door and she has orange skin so everyone can relate to her. No matter what your gender is, race, beliefs, anything, everyone can relate to Ahsoka. You can almost say that Ahsoka is everyone. Over the course now of twelve years, we’ve had so much time and so many hours of television to grow [and] experience with her, people have gone through an entire chapter of their life with her.”

Having voiced Ahsoka from the very beginning, Eckstein recognizes how truly special it is to have helped bring someone entirely new to life in the Star War Universe. Working with showrunner Dave Filoni and his team, Eckstein feels that she has also been allowed to bring her own voice into the character.

“I truly feel like I won the lottery by getting the chance to originate a new character in Star Wars,” she says enthusiastically. “It’s such a privilege and it’s one that I do not take lightly. I mean, I’ve practically devoted my life to it because I see what an honor and a privilege it is. Dave has allowed me to be part of the process from day one. I’m careful by saying that I’ve never written the episode. That is truly Dave and his writing team and they’re incredible. What Dave has allowed me to do from day one is bring my own voice. I don’t mean literally just my voice, but my own personality and how I would say things.” 

“It turns out that I was cast, not for my audition per se, but really just how I was acting in between takes. They wanted someone with an Icelandic accent and I just couldn’t master it and, in between takes, I was getting really frustrated that I couldn’t give them the voice that they wanted. And it turns out the way I was asking questions, the mannerisms of my body, how I was moving my arms, how I was getting exasperated, was actually what got me the part. I went to ask Dave, ‘why did you cast me?’ And you know, he said, ‘Ashley, you’re genuine and that is also Ahsoka.’ That always stuck with me. I never thought about it but, to me, it’s very important to be genuine in everything you do. I want to be that for Ahsoka and I will continue to be that.”

Asked how she feels Ahsoka has changed, Eckstein confesses that her characters journey is relatable to all and has even mirrored her own growth over the years.

“Ahsoka has gone from the snippy padawan to a master in her own right. It’s been an incredible journey and one that, even though these stories happen in a galaxy far, far away, we can all relate to. We all start out in whatever we do like Padawans and, as we grow up and go out into the world, we all can relate to Ahsoka. Me included… Sometimes it’s been really heartbreaking, but my life has mirrored Ahsoka’s in so many ways. It’s like art imitates life. And that’s why I’m so outspoken about the fact that I ask myself daily, what would Ahsoka do because I do believe that she represents all that is good and all that is light. She wants to make the right choice and so I ask myself that on a regular basis.”

Most important to Eckstein, however, is the impact that Ahsoka has had on Star Wars culture. Coming at a time when there were few strong female characters in the franchise, she recognizes that characters like Ahsoka have helped give voice to a generation of women who were looking for cultural role models.

“Ahsoka was a trailblazer, especially for female fans. People forget that, back in 2008, Rey didn’t exist. Jin didn’t exist. Hera, Sabine, all of these strong female characters. We weren’t having these female led stories and franchises. Ahsoka was a game changer and she wasn’t met with praise at first. She shocked people. She was the first female Jedi that was a lead character in the Star Wars universe and it was shocking. I realized very quickly again that this was an honor and a privilege to be voicing her. I so badly want to be a real-life representation of her.“

With this in mind, Eckstein is also passionate of her clothing company, Her Universe, which she hopes will be an encouragement to young females who have found themselves alienated in a primarily male-dominated fan culture.

“What Dave was always supportive of was to start ‘Her Universe’, my company, which was 100% because of Ahsoka,” she argues. “It wasn’t just for the merchandise. It was because fan girls were being bullied and they were being bullied terribly just for being a girl and liking Star Wars. I knew nothing about making clothes. I knew nothing about licensing. I knew nothing about starting a business, but when I saw all of these women and girls being bullied, I asked myself, I said, what would Ahsoka do?”

“Ahsoka would stand up for fan girls. She would give a voice to the invisible. Ahsoka would pay attention to and stand up for those that feel that they can’t stand up for themselves. So, with Her Universe truly, I started it to give a voice to female fans and not to say that this world is just for female fans. It’s not just for male fans. Star Wars is for everyone. Star Wars is a story to me of good overcoming evil. It’s a story of hope and it’s a story that you can’t put a gender on. I feel like the role that I’ve really been able to play as well by being the voice of Ahsoka and help giving her voice is to spread Ahsoka’s message throughout the galaxy and throughout our world of hope.”

In addition to her work on Clone Wars, Eckstein has also recently written her first fiction book, a Little Golden Book based on Ahsoka’s adventures. For Eckstein, the chance to contribute to a children’s franchise that has inspired for generations was simply too good to pass up.

“This is ‘bucket list’ level for me,” she beams. “I feel very blessed to have gotten to do some pretty cool things in my life, but this just ranks up there with one of the top. I grew up and learned to read because of Little Golden Books. So, when they asked me to write a Little Golden Book, I’m not joking when I say I think it was the fastest time I’ve ever said yes to anything in my life. It’s part of a series of Little Golden Books for Star Wars…

“When they asked me if I would be interested in writing I am a Padawan for Ahsoka, I just thought it was perfect. There are so many wonderful lessons that Ahsoka learned and the new generation that’s going to come up on the Little Golden Books, just like I did, are so hungry for these lessons… They’re lessons of hope and bravery and failure and friendship and knowledge and all of these wonderful lessons that, whether you’re learning them for the first time or whether you’re getting a reminder, these are good lessons for everyone. I had so much fun writing it.”

“I was really intimidated actually because this was the first fiction story that I wrote and I put it aside for a second. It was really daunting. I was kind of scared to start and one day, I had a deadline and I said, ‘okay, I gotta jump in’. I went back to the episodes of the Clone Wars and the lessons that I learned and really got to relive the entire journey. I picked out my personal favorite lessons that I took away from the Clone Wars and that I wanted to pay it forward and share.”

Despite the fact that The Clone Wars has famously been cancelled twice before, Eckstein confirms that they are officially wrapping up the story with this latest season. With Ahsoka’s return to the series, she points out that the fans will finally get to see what her character has been doing since she left the Jedi Order as well as the highly anticipated Siege of Mandalore.

“This [season] picks up right where we left off,” Eckstein explains. “Ahsoka’s on her own. She’s trying to find her way in this new world, a world that she knows nothing about because all she knows is the Jedi Order. She was brought to the Jedi temple when she was a youngling. We saw how young she was when Plo Koon found her and brought her to the Jedi Temple. All she knows is being a Jedi and now, everything she knew, she walked away from and she’s questioning. She truly is lost. So, these first four episodes, we pick up with her finding her way and figuring out who she is [and] what she’s going to do next. And, without spoiling anything, adventure ensues [laughs].”

“Then, we’re finally going to get the Siege of Mandalore. That is truly Ahsoka’s finale [as well as] Clone Wars. Everyone knew when, when Clone Wars was on the air before, that we were leading up to that. So, it never felt complete when Clone Wars ended because we all knew that we were supposed to get this ending and we never got it. So, like I said, I’m so grateful to Disney, Disney+, executive Carrie Beck and Dave Filoni for giving us this opportunity to make Clone Wars again. I’m always careful to say it’s not just me. It’s a whole team of people that makes the show that brings Ahsoka to life. I’m just one member of the team and I’m so grateful that they brought the gang back together and that we could wrap it up.”

One of the more unique appearances of Ahsoka came in the form of a verbal cameo at the climax of Episode IX: The Rise of Skywalker. For Eckstein, the opportunity to be a part of the franchise’s film canon was an unexpected privilege. 

“Getting to voice of Ahsoka in Rise of Skywalker is truly one of the highlights of my entire career,” she exclaims. “It was an honor that I was shocked. I found out in April of 2019… and I was told that it might not happen. I was kind of protecting my heart a little bit because I thought they were going to change their mind… So, all of a sudden, the year came and went and here we are in mid-October and I still hadn’t heard anything. I thought it wasn’t going to happen. The next thing you know, I got a call from my agent telling me that I have a recording session at Bad Robot and I couldn’t believe it. I literally was speechless… “

“I’m forever grateful to Matthew Wood for including me in this part. JJ Abrams couldn’t have been kinder. He immediately came up to me and thanked me for being in the movie, which I immediately said, ‘Oh, JJ Abrams, thank you for having me in the movie!’ [laughs]… All the lines that you heard in that montage, I’m assuming they had us all read all the lines and then they picked and chose which ones they wanted us to say.

“It was just one of the coolest moments in my career. I will say this, one of the characters says ‘let the light guide you’ and Ahsoka says “as it guided us”. It couldn’t be more perfect because that’s what I’ve already been asking fans. That’s what I feel like Ahsoka represents. She lets the light guide her and that’s the message that I want to continue to spread to fans as I strive every day to be a real life Ahsoka. Just let the light guide you.” 

As rumors continue to circulate of the casting of Rosario Dawson to bring Ahsoka to life in the upcoming season of The Mandalorian, Eckstein admits that she continues to be out of the loop on any decisions that may (or may not) have been made. Regardless, she recognizes that the passion the fans have for the character continues to astound her.

“I’m not involved in The Mandalorian,” she clarifies, “so I can’t speak to any rumors. I can’t speak to anything that I’m not involved in but I did speak [on Instagram] to what Ahsoka means to me and to the fans. In just two hours, the response from the fans is unreal. I am speechless with the response, but it really shows what Ahsoka means to everyone. It’s really incredible.”

For full audio of our interview with Ashley Eckstein, click here.

Star Wars: The Clone Wars is wrapping up its adventure on Disney+ now.

Self-Isolation Film Festival: Bedknobs and Broomsticks

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Y’all. One of my all-time favorite movies growing up was Bedknobs and Broomsticks with Angela Lansbury (#legend), and David Tomlinson (Mr. Banks from Mary Poppins). Magic beds, children winning over gruff adults, an animated remote island of human-like animals, and Nazis…I mean, it has all the elements of childhood fantasy that one could ever need. And right now, a good old-fashioned fantasy film is what I need, so thank you Disney+. 

I sat down with my kids last Thursday night and introduced to them to this gem of 1970’s Disney, and was immediately transported to my grandparents’ living room, where I spent most of my childhood summer days watching this movie. Their home was the safest space in my life. It was there I learned how to paint, crochet, sew…the tasks my grandmother called “the lost arts,” with soap operas or Reba McEntire in the background. My grandfather showed me and my brother how to safely use a bandsaw for woodworking in between us jumping on the trampoline or setting up buckets and sticks and strings to try and catch squirrels or birds. When lunch rolled around, we would sit down and make mini sandwiches with crackers and cheese and pickles and cold caffeine free sodas. My happiest childhood memories are from those summers. Isn’t it amazing what a movie can inspire in our memories and hearts?

By the time siblings Paul, Carrie, and Charlie (Roy Snart, Cindy O’Callaghan, and Ian Weighill) arrive at Ms. Price’s home in rural England, she has been corresponding with Professor Emelius Brown for instructions on using magic. Her lack of organization and memory skills often mean spells going wrong, but she clearly has a gift. When the last letter comes with the closure of the college without the final spell, Ms. Price and the children travel to the city to discover the truth. But they don’t take a train or a car. No, they use Charlie’s bedknob with a traveling spell that Ms. Price has placed upon it. When he “taps it three times and turns a quarter-turn to the left,” the bed will take them wherever they want to go.

In London, they discover Mr. Brown is a bit of a fraud, had copied the spells from an old book, and didn’t have the final spell for substitutionary locomotion that Ms. Price hoped to use to help in the war with Germany. He’s amazed by her ability to actually use the spells, and she is determined to find the final spell. Their journey takes them to the mythical Island of Naboombu, where animals talk and walk and live like humans. This animated, magical world holds the key to that final spell, and the results will change the fate of our five travelers and maybe even the war itself. 

There are so many more things that I love about this movie, but what always makes me giddy is the search for something beyond ourselves that could make a difference. Of course there are things we can all do and parts we can all play, but I’m also looking for the signs that there is something out there…something powerful and miraculous…that can pick up where I leave off. And while it’s true that children are so good at believing in something that adults just can’t grasp, I love how this movie is led by a grown-up believing in that same magic. Oh, to be such an adult! 

In spite of a world that seems out of control, with fear and sickness and darkness seemingly in every corner, for me, movies like these transport me from into a world of laughter and color and magic. It may not be enough to completely block out the noise (nor should it in many cases), but for a couple of hours I am a kid again, spending summer days with those who’ve passed on, and I can look to the horizon with hope in my heart that the impossible is possible. 

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.

Stargirl: A Lasting Light from a Fleeting Time

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I have to admit, it was the announcement that Disney was going to add Frozen 2 to Disney+ early that drove me straight to the “free trial.” I had wavered back and forth about the streaming service when it was first announced, and somehow even refrained despite the raving reviews of The Mandalorian. But my kids’ newest favorite movie, while gearing up for three weeks at home with the four of them undoubtedly going stir crazy even with the hope of well-organized daily routines? No brainer. 

Little did I expect that my first film on Disney+ would be the just-released Stargirl, a down to earth story based on the book by Jerry Spinelli, of how a small town high school is forever impacted by an out of this world new girl who shoots in and out of their lives just as her name describes. 

Leo Borlock (Graham Verchere), has stayed pretty low key after he and his mother Gloria, (Darby Stanchfield) relocate to the small town of Mica, Arizona following his father’s death. It’s a place where “nothing happens,” and Leo paints a picture of invisibility that began after an ill-fated meet-up with some older bullies when he first arrived years before. 

But there is always a little light for Leo. Every year on his birthday, someone leaves a porcupine tie on his doorstep. Knowing the backstory of why this matters, we are given a foreshadowing of what…or whom…is to come.

That whom is Stargirl Caraway (Grace VaderWaal), a local homeschooled student who stops everyone in their tracks when she walks in with her unconventional bright and mismatched outfits, and eagerness to bring joy to everyone around her. And for someone like Leo, who has worked for so long to blend in, she is a beacon of color in a monotone world. 

The structure is relatively similar to other teen films, mainly how “the quirky kid wins over some popular kids while encouraging the shy kid to break free from self-imposed averageness.” Stargirl pushes Leo out of his comfort zone while rallying the entire school towards football victory (of course). And yes, there is the ebb and flow of first love’s and fights and good intentions gone bad. The formula isn’t necessarily “new.”

But the manner in which this is delivered felt…more important, maybe?

Maybe it’s because a lot of teen movies end in a kiss with some popular music in the background, and this one strayed from that part of the formula. Maybe it’s because I could actually believe they were in high school. Maybe it’s because I could feel real heart in the script.

Bu I think what really made me sit up and pay attention was Leo’s question, “who would take the time for someone they don’t even know?”

Our world is in a bit of a crisis. Every day, information spreads like wildfire, as we all work to stop a virus that spreads even faster. Some people are panicking, some are ignoring, but most of us are trying to find balance. And all of us are being encouraged to take this time to do something “for someone they don’t even know.”

I don’t have to know you to be kind. I don’t have to know you to press pause on my typical routine in an effort to protect you. I don’t have to know you to want light and color and joy filter into your life, even in the midst of uncertainty. 

I don’t have to know you to love you. 

At some point, we will go back to our normal routines. There will be stories and memories, as Leo explains, that will leave lasting marks. But what I hope is the most lasting is a commitment to caring for one another at all times, in all ways. We will forever be changed. And it is my prayer that it will be a change that shines as bright as the stars that burn so fiercely above us.

Stargirl is streaming on Disney+ now.