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SF Radio 8.20 Sacred Sexuality in PAM & TOMMY

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In the ‘greatest love story ever sold, Hulu’s Pam & Tommy tells the story of the theft and release of the celebrity couple’s sex tape back in the late 1990s. Beginning with the energy of a raunchy comedy, the series gradually shifts its perspective into something much more poignant and (dare I say it?) powerful in its conversations about gender and sexuality. This week, Amanda Jane Smith and Miriam Ibrahim return to have an honest discussion surrounding the nature of ‘gaze’ and the relationship between consent, sexuality and pornography.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

8.20-Pam-TommyDownload

No Exit: Though the Weather Outside is Frightful…

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Though the weather outside is frightful… it’s probably more terrifying to stay inside.

No Exit tells the story of Darby (Havana Rose Liu), a young woman who currently resides in an addiction treatment centre. When she hears of her mother’s hospitalization, Darby decides that she needs to see her immediately and breaks free from her facility. En route, a terrible blizzard forces her to find shelter in a highway rest area with a small group of strangers. However, when she soon discovers a young girl trapped in one of parked vehicles outside, she finds herself caught in the midst of a terrifying race to uncover the identity of the kidnapper and set the young captive free.

Directed by Damien Power, No Exit is an energetic ride suitable for a night of at-home streaming on a cold night. As the director of Killing Ground, Power has experience in the thriller genre and he puts those tools to good use here. Taking place over the course of one evening, the film has some legitimate twists and keeps the viewer engaged throughout. Set in an offramp conservation station during an intense blizzard, Power uses its confined space to build an atmosphere of claustrophobia. Tight camera work keeps us focused on the faces of the players involved, making their interactions feel like a chess match between potential adversaries. What’s more, with only two or three rooms in use, Powers keeps the characters in each other’s way, forcing them to be involved in their lives for the time being. 

While the film doesn’t break any new ground for the genre, Exit’s energy and pacing keep the viewer interested and makes for some light fun. Despite the fact that the film does address multiple issues ranging from drug abuse and child trafficking, none of them are explored in any real depth and merely provide some background to the characters. As a result, though the film seems not to have any particular social agenda, Exit remains propped up by its liveliness. Clocking in at a mere 90 minutes, it’s pacing and brevity keep the film moving quickly and the viewer engaged.

As her first film in a lead role, Liu does a particularly good job conveying an inner strength within her character. As the broken but determined Darby, Liu carries the film with vivacity that never allows the film to drag. While the rest of the cast seem fairly engaged with the material, the other most notable cast member is veteran Dennis Haysbert, who’s calm demeanor provides the film with a much-needed. 

Underneath the criminal exploits, No Exit seems interested in asking the question of what defines who we are. Having been all but abandoned by her family due to her past drug addiction, Darby lives a life of isolation. When she hears of her mother’s hospitalization, she is determined to reach her family, despite the fact that they have essentially disowned her. During her time in the off-ramp facility, the motley crew that she encounters do not appear to know anything about one another yet they all seem to believe that they know who she is. Whether she’s referred to as military child or drug addict, numerous labels are thrown around to describe her, both positive or negative. As such, these pieces of her story instantly become identifiers to her new acquaintances. Even so, she refuses to be defined by these moments of her past. Although she may have struggled with addiction, she is more than an addict. Although her father’s military background is a key part of her life, she is more than a ‘military kid’. In this way, No Exit points out that who we were does not necessarily mean that that is who we are. Darby’s story is her own and she will chart her own path forward.

While No Exit may not be particularly memorable, it still delivers the goods for an evening of thrills and entertainment. Despite its flaws, there’s something instantly likeable about the film that keeps you watching. (Any film that can make a simple game of cards feel high stakes must have something going for it.) As such, when this stop on the streaming highway becomes available, this remains an Exit worth taking.

No Exit streams on Hulu in the US and on Disney+ in additional territories on Friday, February 25th, 2022.

Mother/Android: Love and Light in the Darkness

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Mother/Android — Set in the near future, MOTHER/ANDROID follows Georgia (Chloë Grace Moretz) and her boyfriend Sam (Algee Smith) through their treacherous journey of escape as their country is caught in an unexpected war with artificial intelligence. Days away from the arrival of their first child, they must face No Man’s Land – a stronghold of the android uprising, in hopes of reaching safety before giving birth. Georgia (Chloë Grace Moretz), shown. (Photo by: Seacia Pavao/Hulu)

“Do you think it’ll ever be normal?” “No, but I think it can still be good.”

Set in the near future, Mother/Android takes a familiar premise and makes it feel entirely fresh. While stories about robot uprising are far from new in the science fiction world, the execution of the story is particularly well told. Directed by Mattson Tomlin (Little Fish) and produced by Matt Reeves (War of the Planet of the Apes), the film is an emotional journey with multiple layers that works surprisingly well. Fueled by strong performances across-the-board, Mother/Android is simply solid sci-fi storytelling. 

In Hulu’s latest sci-fi entry, Mother/Android tells the story of Georgia (Chloe Grace Moretz), a young woman who has just discovered that she’s pregnant. As she and her boyfriend Sam (Algee Smith) discuss their options and future, a sudden noise pierces the air and their robot servants embark on a murderous rampage. As the world spirals out of control Georgia and Sam set out on a journey to find safety from the android revolution before she gives birth.

Mother/Android — Set in the near future, “Mother/Android” follows Georgia (Chloë Grace Moretz) and her boyfriend Sam (Algee Smith) through their treacherous journey of escape as their country is caught in an unexpected war with artificial intelligence. Days away from the arrival of their first child, they must face No Man’s Land – a stronghold of the android uprising, in hopes of reaching safety before giving birth. Georgia (Chloë Grace Moretz), Sam (Algee Smith), shown. (Courtesy of Hulu)

Visually, light plays a key role in the film’s aesthetic and storytelling. Beginning with a bright and festive palette, the quickly gives way to bleaker, cold colors that drain all life from the screen. As such, when light breaks through, it becomes extremely noticeable. Whether it’s the warmth of a hospital bed or beads of bright neon green, Tomlin uses bright lights to symbolize hope. In these moments, Tomlin uses light as signs that shine in the darkness and reconnect with the normalcy of the opening sequence. 

Mother/Android emphasizes the sacrifices that we make for our families and children. As a first-time mother, Georgia is willing to fight fearlessly both for her unborn baby and her partner, Sam. Both she and Sam have a relationship built on trust and they remain dedicated to supporting one another. Sam repeatedly reminds her that he ‘wants to protect her’. In some ways, it’s interesting that he uses that phrase as it feels like toxic masculinity and certainly Georgia is no ‘damsel in distress’. (Incidentally, Georgia responds strongly to that sentiment initially as she is not one in need of ‘protection’.) 

Mother/Android — Set in the near future, MOTHER/ANDROID follows Georgia (Chloë Grace Moretz) and her boyfriend Sam (Algee Smith) through their treacherous journey of escape as their country is caught in an unexpected war with artificial intelligence. Days away from the arrival of their first child, they must face No Man’s Land – a stronghold of the android uprising, in hopes of reaching safety before giving birth. Sam (Algee Smith) and Georgia (Chloë Grace Moretz), shown. (Photo by: Seacia Pavao/Hulu)

However, in this case, the sentiment goes both ways. The level of sacrifice required to keep their family together is met equally by both partners. He wants to protect her and she is willing to do the same. The deep love and passion that they have for one another is felt simply by the fact of what they are willing to keep the other safe. For example, without giving away any spoilers, there is one particularly harrowing set piece where one partner enters a building filled with vicious androids in order to rescue the other out of love. Shot with one single take, this moment in the film has an intensity to it that is palpable. With each movement, therein lies a potential threat to their life. Even so, the idea of leaving the other behind is simply unconscionable. 

At the same time, the film absolutely speaks to life in a pandemic reality. Set in a time where simply using a camera becomes a potential threat, the story is very much about surviving and thriving in the midst of the worst of circumstances. Though they’re alone and isolated in ‘no man’s land’, Georgia and Sam are committed to the idea that they will still succeed as a family. Although forced to live in fear, they are determined that love will help them make the best of things. (With this in mind, the camera takes on even greater significance.) This is not simply a story that is telling us to make the best of it but a story that suggests that this is not the end. Yes, the world may have changed but this will not prevent them from creating a loving home for their family. (If that does not strike a chord in the middle of our COVID world, I do not know what does.) 

Mother/Android — Set in the near future, MOTHER/ANDROID follows Georgia (Chloë Grace Moretz) and her boyfriend Sam (Algee Smith) through their treacherous journey of escape as their country is caught in an unexpected war with artificial intelligence. Days away from the arrival of their first child, they must face No Man’s Land – a stronghold of the android uprising, in hopes of reaching safety before giving birth. Georgia (Chloë Grace Moretz) and Sam (Algee Smith), shown. (Photo by: Seacia Pavao/Hulu)

Tightly written and featuring well-executed set pieces, Mother/Android really is something special. However, the film’s value lies beyond its intensity. Coming at a time when the world is in constant flux, Mother/Androidserves as a reminder that we can still find stability and hope. At a time when it feels like the world is changing constantly, sometimes it helps to be reminded that our ability to thrive as a species is not determined by our circumstances. After all, even if things aren’t normal, that doesn’t mean it can’t still be good.

Mother/Android streams on Hulu on Friday, December 17th, 2021.

Candified: Home for the Holidays – It’s a Marshmallow World in the Winter…

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Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! Jackie Sorkin, shown. (Photo by: Cory Osborne/Hulu)

The song may say it’s a ‘marshmallow world in the winter’… but I bet you’ve never considered how much work it is to create it…

Now streaming on Hulu, Candified: Home for the Holidays follows Candy Queen Jackie Sorkin as she and her crew undertake an impossible task: create a life-size house made of candy! With only 6 weeks to complete their assignment, Sorkin and her team of candy artists work tirelessly to design, melt, build and shape a home with all the trimmings. Using hundreds of thousands of individual pieces of candy in innumerable styles and shapes, this group battles the clock in an effort to reach their goal as a gift to the children of Boys and Girls Club of America. 

Anchored by the charm of Sorkin, Candified: Home for the Holidays is a light-hearted and tasty diversion for people looking for something sweet this season. With flashy fun, Sorkin and her crew dream and design some truly unbelievable designs in remarkably short time. Like other reality shows, the series is fueled by its characters. Whether it’s ambitious “#3” D. Micah or the ‘new girl’ Mandy, this team provides enough light-hearted drama that feels important… but not-earth shattering. (However, that’s not to take away from the incredible difficulty of their accomplishments. Seriously, it’s incredibly stressful building a penguin and fridge with such limited time and resources.) 

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

However, while the cast may be likeable, it’s Sorkin who keeps the show moving. Bounding around the screen with Wonka-esque enthusiasm, Sorkin is clearly thrilled to see her ability to ‘candify’ the world come to fruition. Professional and playful, Sorkin takes her candy seriously, especially since this event provides the opportunity to both help kids and grow her business in the process.

Unlike other bake shows that base their competition on taste, Candified takes a slightly different approach. Instead of devouring the final product, Sorkin’s team creates a sort of interactive playland with candy as its cover. While kids may not be able to taste the product, she absolutely encourages them to engage what they’ve built. 

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

And the results are extraordinary.

Whether it’s woven sour strips blankets or gummy chandeliers, Sorkin and her team seem to make jewels out of jawbreakers. With each bonbon and licorice string, they create some truly remarkable pieces that are good enough to eat. And, quite frankly, I believe that’s the point. Although the task to build out of candy may seem odd at first, Sorkin understands the childlike wonder in seeing her vision brought to life. There’s something inherently playful about moving through a house made of treats and truffles. Marshmallow pools, gummy-laced fridges and so much more absolutely sparkle with joy. 

Without question, Hansel and Gretel would be proud.

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

However, the true soul of the show belongs to the team’s ability to come together. As the series begins, squabbles over leadership structure and the sheer size of their challenge begin to weigh on them. As a result, cracks begin to appear in Sorkin’s squad. Even so, as the clock ticks onwards, they increasingly manage to pull things together as they focus on their common goal. Broken pieces, shattered statutes and improper implementation all may cause delays but they still push through. To them, this project is about far more than candy decorations or simply building their brand. This is an opportunity to support children in need. That collective vision fuels their enthusiasm and they are able to put aside the things that were dividing them. In this way, the series highlights that the importance of supporting others far outweighs their petty disputes and can truly bring people together in the process.

In the end, Candified: Home for the Holidays is truly a treat for the family. As Sorkin continues to ‘candify the world’ with her Midas touch, so too does she also spark joy in the hearts of those around her. With every gummi bear and sour candy, she and her crew have concocted something truly special that speaks to the power of working together but also lights up the senses.

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

Candified: Home for the Holidays is now playing on Hulu+.

The Voices of (Three) Generations: 1on1 with Rob Paulsen & Maurice LaMarche (ANIMANIACS)

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They’re Pinky and the Brain. One is a genius. The other’s insane.

Taken from their famed theme song, these simple words summarize the lovable relationship between the two animated laboratory mice from Hulu’s revived series, Animaniacs. Committed to taking over the world, the maniacal Pinky and the Brain have been beloved by millions since they first popped on screen almost thirty years ago. 

Beginning its original run in 1993, the rebirth of Animaniacs has meant that its unique brand of humour has impacted multiple generations of kids around the world. In light of this, voice icons Maurice LaMarche (‘The Brain’) and Rob Paulsen (‘Pinky’) are often amazed that these characters continue to endure and bring families together.

“It hit me at Comic Cons. I already knew that the generation that watched our show had hit their mid-thirties,” LaMarche points out. “It was when their little kids started pointing to Pinky and the Brain and wanting an autograph from them. And I’d ask, ‘how old is he?’ And they go, ’10’. I’d ask, ‘How does he know about Pinky and the Brain’? ‘Because I show it to him on the DVDs, the box sets, all of that.’ Now, we’re noticing that the dads that sat with their kids in the 90s are now the [grandparents] of the little kids who were asking for that picture with their kids. Three generations are standing in front of our tables at Comic Cons, asking for autographs. So, that’s kind of fun.” 

“That’s really unusual too,” chimes Paulsen. “I think the only other show I can think of that’s still in production is the Simpsons, where that would have happened. But we have gotten this incredibly glorious opportunity as a result of the stars aligning and Hulu. With a twenty-five year break in between, it’s so unprecedented to do it again, and then have all these world-class journalists talk to us about season two, and the show is now an unqualified hit again with an exponentially larger audience.”  

In light of their lasting legacy, it begs the question of what makes Pinky and the Brain such endearing characters? While their antics to take over the world are always hilarious, Paulsen argues that he believes it stems from the adorable relationship between the two characters.

“I think that what sets it apart for me is that it’s just a love story,” Paulsen explains. “Pinky and the Brain really love each other. I think one of the reasons that, um, that it translates pretty well to the screen is that life is imitated art. I love Maurice. We are the dearest of friends… So, if you’re going to be authentic, acting is acting. The whole idea is that you embody these characters. You don’t acknowledge the fact that it’s silly or otherwise. This is the truth. You are about taking over the world and supporting your guy, supporting the man (or the mouse) whom you believe has the best interest of the world at heart. Whether it’s nefarious or not is not, Pinky’s MO is that [he] believes that the Brain has the best of intentions and [he’s] going to do everything I[he]can to help him achieve his goal. Then, he hits [him] on the head for doing something stupid. So, that’s why I think they work together.” 

“It’s a show about a friendship,” LaMarche echoes. “It’s a show about what Peter Cook and Dudley Moore described as the ‘uninformed idiot and the informed idiot’. So, Brain, being the informed idiot who, though he is supposedly a genius, isn’t smart enough to know that a two-inch tall lab mouse that can’t possibly take over the world. So, he’s rendered harmless at that point. That’s another reason that people can get with him because they know he’s no danger. (Of course, setting aside the fact that he’s an animated cartoon.)” 

Thinking back to the very beginning, LaMarche notes that his voice for the character stemmed from the remarkable similarities in appearance to the great Orson Welles.

“The original design of Brain was very Orson Welles-ian and to the point that I actually, in my hubris, believed they’d created the character with me in mind,” LaMarche laughs. “I was notorious for doing Orson Welles whenever there was a break in recording so, I just thought, ‘Oh, they’ve created this Orson Welles lab mouse for me. The audition is a mere formality, my friend.’ So, I just laid down my Orson Welles, and then we went. He’s more angular now. I don’t know that I might’ve seen Orson Wells in there now and ergo, may not have ended up with the job. So, I’m glad we started it when we did.” 

With this in mind, Paulsen suggests that he also prefers the opportunity to bring his own unique take on the character, rather than attempt to meet the expectations of the director.

“For me, it was a six-week audition,” he continues. “I had five or six callbacks over a six-week period because it was a big deal. It was all a brand-new clean sheet of paper, lots of music. and it was a lot of ‘We’ll know it when we hear it’. To me, [that’s] a boon. I love it when a director or producer says ‘I want to hear your take on this and you give me what you got’. If somebody says ‘we’re very specific in what we want’, I can do my best but, if they’ve got it stuck in their head that no, that’s not getting close to what I want. I love it when I have a little control over what I can give them. When Moe walked into read for the Brain, once he opened his mouth and did Orson Welles, they were done… Had Mo not had the—he calls it hubris, I call it genius—but that ability to say, ‘Oh, wait a minute. I know what’s going to work here.’ He does it. Behind the glass, they just go, ‘Oh my God. All right. All the rest of you. Thank you very much.’ That’s what happens when you open it up to the actor’s interpretation.” 

Known for its boundary-pushing animation and style, Animaniacs has clearly found a new audience with its revival. Asked what he believes is the most exciting aspect of the series for him, Paulsen beams and immediately points to the series’ ability to remain self-aware and current with its humour.

“I love the fact that we’re self-aware and that we lampoon everybody, including ourselves,” Paulsen exclaims. “In fact, if you guys recall, in the revival’s… theme song, the first half is the old animation and the old lyrics. Then, it switches to the new stuff where we become self-aware. In fact, they even say ‘gender-balanced, pronoun-neutral and ethnically diverse. The trolls all say we’re so passe, but we did meta first’. That is freaking genius because it’s self-aware and right out of the shoot before one word of dialogue is spoken the theme son, lets you know what you’re in for? I find that really just so bad-ass really.”

Animaniacs is now available on Hulu.

To hear our complete conversation with Rob Paulsen and Maurice LaMarche, click here (YouTube) or here (audio).

Animaniacs: Long May Insaney-ness Reign

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It’s not supposed to work this way.

Beloved shows are cancelled all the time and, occasionally, get revived by other networks or sheer fan support. However, because of the passage of time, aging cast or simply just changing cultural trends, these shows are rarely as good as the original incarnation.

So, how is Animaniacs managing to meet the massive expectations of the original series and (maybe) even surpassing it?

First incarnated from 1993-1998, Animaniacs is the animated adventures of the Warner siblings, Wakko, Yakko and Dot, who live in the Warner Bros. Water Tower on the WB Studio lot in Burbank, California. In a collection of short cartoons, the Warners move through time, argue with network executives, battle monsters and try to get their email working properly. At the same time, the show also features characters like Pinky and the Brain, two laboratory mice committed every night to ‘trying to take over the world’ and others who are involved in their own silliness along the way.

Confused? That’s okay. They promise in the theme song that they’re ‘totally insane-y’.

Produced by Steven Spielberg, Animaniacs has always banked on the ridiculous in order to set it apart from other animated fare. For a series that disappeared almost 25 years ago, it’s remarkable that it remains as frenetic as ever. Sharply written and furiously executed, the show has maintained a sort of ‘timeless’ quality to its storytelling. Taking the most basic of premises (‘trapped in a movie studio’ and ‘taking over the world’), Animaniacs remains somewhat disjointed from any particular place and time. As a result, they have maintained the ability to adapt to the moment, blowing up the cultural icons of the time with satire and silliness. With ‘Chuck Jones-esque’ vitality, this remains a series that wants to bombard the viewer with as much humour as possible, making it easily re-watchable as well. 

Interestingly though, while it’s not unusual for animated fare to include pop culture references that skew towards adults, Animaniacs almost feels like it has taken the opposite approach. Leaning into allusions to Donald Trump, Oliver Twist and even 90s sitcoms such as Cheers and Fresh Prince of Bel Air, sometimes the show feels like its writing for parents as its primary audience. That’s not to say that it’s not appropriate for children. This is very much a children’s product with its eye-popping animation and physical humour. (In fact, both my 6- and 11-year old boys find the show hilarious.) Even so, the series’ emphasis on meta humour (they remind you that they did ‘do meta first’) and political references still seem more targeted to parents as opposed to little ones.

What’s always been interesting about Animaniacs is the role of the Warners themselves. As the show’s central characters, they have always exemplified pure, borderline anarchistic joy and fun. (I mean, the whole premise of the show is that they refuse to remain trapped in a water tower…) Shattering rules in the name of youthful playfulness, Yakko, Wakko and Dot exemplify innocence… in their own way. However, there’s a question that arises during season two that I’d never considered before.

Are they heroes?

Held up against the hilarious maniacism of Pinky and the Brain, the Warners seem to be the ‘good’ characters of the series. Even so, the Warners are not types to proclaim any sort of pious values or virtue that they’re ‘fighting for’. Ultimately, their primary concern seems to be… well… fun. However, in the Oliver Twist parody, there’s a moment this season where they are asked to join Fagan as pickpockets and Wakko refuses. (‘Stealing is bad,’ he proclaims.) Although, when Fagan ‘reframes’ it—they’re actually redistributing wealth—they’re willing to participate. To them, that makes sense… and the activity still feels innocent. They may not be intentionally trying to make the world a better place… but neither do they want to hurt anyone either.

In this way, maybe ‘heroes’ is too specific a term for the Warners. With childlike inexperience and enthusiasm, they’re trying to learn about the world and why the things that we value are important to us in the first place. Their ‘insany-ness’ stems from an innate desire to explore and bust down the social barriers that we’ve constructed around ourselves. To the Warners, spoiled children, Roman empires and spam folders are all just opportunities to ask questions and push boundaries. 

When others are asking ‘why?’, they’re simply going to ask ‘why not?’

The truth is that, regardless as to the Warners’ true motivations, Animaniacs continues to sparkle with an innate and infectious joy. Despite their age, the adventures of the Warners and misadventures of Pinky and the Brain show no signs of rust. With that in mind, although the series technically was rebooted with the intent to create two seasons, these chaotic cartoons still definitely have a lot of life left in them should they (hopefully) decide to extend the contract. Even if it’s not ‘supposed to work this way’, it’s definitely still working.

So, long may insaney-ness reign.

To hear our interview with co-executive producer Gabe Swarr, and voice icons Tress MacNeille and Jess Harnell, click here (YouTube) or here (audio)

To hear our interview with voice icons Rob Paulson and Maurice LaMarche, click here (YouTube) or here (audio)

Animaniacs returns on Hulu on Friday, November 5th, 2021.

Only Murders in the Building: Killer Fun While Embracing the Mess

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From podcasts to true crime stories, the mystery genre has never been hotter and, thankfully, the sheer joy within Only Murders in the Building keeps that trend alive and well. Tightly written and executed, the series pops with fun amidst the murderous mayhem. As unlikely sleuths, Martin, Short and Gomez are simply delightful together onscreen. Backed by some wonderfully fun supporting cast like Tina Fey, Nathan Lane, Amy Ryan and a dog-hating Sting, the three sleuths bound around the hotel looking for clues to the murder of the mysterious Tim Kono with a youthful energy and enthusiasm in their performances that we haven’t seen in a very long time. 

Set in a restless condo in New York City, Only Murders in the Building follows three strangers whose lives are turned upside down after a young man they know as Tim Kono is suddenly killed. Labelled a suicide by the police, the ruling doesn’t sit well with wannabe sleuths Mable (Selina Gomez), Charles (Steve Martin) and Oliver (Martin Short) who immediately set out to uncover the truth about Tim Kono’s demise. Although they know nothing about each other, their love of true crime podcasts and mystery fuels their passion for the case. However, the greatest lies may in fact be the ones that they tell each other as they keep their own secrets hidden on their quest for the truth.

Despite the age gap between the leads, the team may be unlikely but never seems out of place together. Having found a bit of a career boost in recent years, Short and Martin have worked together for so long that their banter stems out of their very real friendship but even they seem rejuvenated here. In addition, while she may seem like an odd choice at first, Gomez is a suitable addition to the team and she bridges the generation gap, making the series more accessible to younger viewers. 

As with all stories of this nature, Only Murders deals with the impact that the secrets and lies we keep have upon our daily lives. What may set it apart however is its interest in ‘embracing our mess’, rather than simply hide from it. Without giving any spoilers, for Mable, Charles and Oliver the appearance of success and happiness have become just as much of a priority as actually experiencing it for themselves. In each case, these broken souls seem to have everything together on the outside, even as they waste away within. Oliver refuses to let go of his apartment, despite his own financial setbacks. Charles happily reminds people of his career long ago as television detective Brazzos. Mable lives in luxury but keeps her emotional traumas close to her vest. To them, anonymity is power and image is everything.

As they hide their stories from one another, they play a sort of emotional poker with one another (and themselves). However, as their shadows begin to emerge, they become forced to accept the dark corners of their lives that they despise most. (“Embrace the mess. That’s where the best stuff happens,” they’re told.) For Oliver, Mable and Charlie, embracing the mess means being willing to address their brokenness and acknowledge it as a part of who they are. While this is never an easy task, the three characters begin to experience a personal wholeness that has eluded them for some time as they open themselves up to the flaws in their journey. Their stories are as intricate as that of Tim Kono and just as important to reconcile.

Lively and hilarious, Only Murders in the Building has all the makings of a hit. Led by its eager cast and anchored by a solid script, the series is easily one of the most fun surprises of the summer and well worth investigating. Like the podcasts that the characters adore, these Murders are killer fun and should keep people tuning in. 

The first 3 episodes of Only Murders in the Building are available on Hulu and Disney+ on Tuesday, August 31st, 2021, with new episodes weekly.

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.

Nine Perfect Strangers: Everybody has a Story

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Based on the New York Times best-seller by Liane Moriarty, Nine Perfect Strangers is set at an elite health and wellness resort in the mountains of California. For 10 days, nine clients are selected to join guru Masha (Nicole Kidman) for a time of inner healing and transformation. Stressed out from the burdens of urban life (and life in general), the strangers gather together to find hope and healing for their tired minds and bodies. However, as Masha’s methods become increasingly invasive and personal, so too must her clients decide if the treatment is worth the potential cure.

Nine Perfect Strangers is a weird and wild exploration of the darkness that we all keep underneath the surface. Directed by Johnathan Levine, the series seeks to deal with the psychology of trauma (and the traumas of psychology). Set amidst the stunning backdrop of Australia (subbing for California), Strangers highlights the tranquility of nature yet also uncovers the turmoil from urban life. In essence, despite the serenity of the surroundings, Levine’s uses the personal struggles of his characters to swirl within them with a chaotic rage.

Certainly, there are aspects of the series that simply don’t work. For example, without giving any spoilers, a twist that begins to explain why characters are having their spiritual encounters is particularly strange (and unethical) to say the least. Even so, despite its flaws, Strangers strangely keeps you watching. Build upon an intriguing premise and mysterious setting, Strangers operates on a slow build that unravels its secrets at the right pace.

In some ways, Strangers is reminiscent of ABC’s classic drama Lost, a series which also balanced psychological and mystical components. When most people remember Lost, they usually focus on elements like the ‘smoke monster’ or ‘the hatch’. However, that was not what made the show work so well (and arguably what killed the series). Instead, the most intriguing aspects of that show were always the backstories of its characters and their influence on the present, rather than the more supernatural elements that influenced events. The real story to that series was watching people deal with the tragic events of their past and thankfully, Strangers also keeps its eye firmly on its characters.

While not all nine strangers receive equal investment from the script, there’s something fascinating about their individual arcs and performances that makes this a compelling watch. Strong chemistry between Melissa McCarthy and Bobby Cannavale make them an intriguing ‘will they/won’t they’ couple. A surprisingly muted but enthusiastic performance by Michael Shannon adds to the complexities of his family’s compelling backstory. Even Nicole Kidman’s Masha maintains enough mystery in her own flexible morals to keep the viewer interested. 

And Kidman’s Masha really is the lynchpin to the series. As the evil (or is she?) mastermind to the resort, Masha is portrayed as both guru and maniac. Although she is more than willing to play fast and loose with the emotional well-being of her clients and staff, there also appears to be a method to her madness that somehow makes her seem disarming. Having specifically chosen her applicants based on their psychological profiles, Masha uses their traumas in ways to play them off of one another in their own journey towards healing. Although their arcs are entirely separate from one another, Masha sees aspects within them that helps both expose their flaws and enhance the healing of others.

In this way, Strangers emphasizes the importance of the fullness of everyone’s story. Each one of the resorts clients have come to this space in desperation, looking for some form of hope. Driven by secrets that remain buried deeply within them, their sufferings have crushed their spirits. Broken and battered by the pain of life, every character sees this resort as their last resort as they attempt to come to grips with their own inability to achieve the perfection that they expect of themselves. However, although they could not be more different, each of their stories remains important and valuable. 

As their internal wounds are exposed by Masha’s bizarre teachings and tactics, so too are they able to face the pain which has plagued them for so long. As such, the purpose of this retreat is not merely to tell them that ‘everything will be okay’. Instead, it is about owning their darkness as an important part of their journey and accepting the truths that they deny. For Masha, hope lies in our ability to face our darkness and own it.

To her, healing is about wholeness and hurt has its place within that.

Wild and mysterious, Nine Perfect Strangers is far from a perfect series. Admittedly though, its strong performances and enigmatic atmosphere make it a compelling watch. While Masha’s methods may border on a lawsuit at times, so too does she prove that these strangers do not need to be perfect. They merely need to understand themselves more fully in order to find peace.

Nine Perfect Strangers is available on Hulu on Wednesday, August 18th, 2021.

Homeroom: Look Who’s Talking

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There are more voices than I can count these days. And honestly, I’m sitting here thinking through this piece but heavily distracted by those voices. On the day I sent my son to his first day of kindergarten, parents concerned about mask requirements protested at the school board building – that is next to the county-wide preschool and kindergarten. Now, I don’t have a problem really with protesting, but I do when it’s on school property and it disrupts an environment meant to feel safe and welcoming, especially for young children going to school for the first time. And I do when someone says their intent is to be a voice for children, but they are simultaneously speaking over those children. 

I’m not sharing that to start a conversation about a topic like masks or protesting, but I’m sharing it because later that day, I watched Hulu’s documentary Homeroom, a film that delved behind the scenes of graduating seniors in the Oakland Unified School District. How do these connect, you may ask? Because one aspect of this film was about voice, and the problems that arise when adults ignore the words of their youth. 

Denilson Garibo and Mica Smith-Dahl are the spokespeople for the 36,000 students across the Oakland Unified School District. They are passionate, informed, and weary of the uphill battle. And rightfully so. Amidst budget cuts, the tragic murders specifically of Breonna Taylor, George Floyd, Ahmaud Arbery, and an incoming pandemic, Garibo and Smith-Dahl work tirelessly to present a unified voice to the ones in power. 

The largest initiative on their plate? Getting approval to dissolve the police presence at OUSD. Oakland is the only school system with its own police force, with a budget of over $2 million dollars. So while board members are looking for ways to cut funding, the students ask for one thing – give us our freedom, and cut the budget that goes to school district’s police force. 

The poise that these two individuals maintained throughout a tumultuous year continues to astonish me. They knew their battles. They knew when to speak up and when to sit back, aware that their every word and move was under the microscope of the “leaders” who would either back them or reject them. They wore the burden of representation while worrying about SAT and ACT scores, filming TikTok videos, watching the news, and everything else that senior year entails – but with the added weight of protests, hope for reform, and a deadly virus upending all of our lives. Teenagers. Seventeen and eighteen years old. And they didn’t back down until they won.

A still from Homeroom by Peter Nicks, an official selection of the U.S. Documentary Competition at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Sean Havey. All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or ‘Courtesy of Sundance Institute.’ Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

From beginning to end, Garibo and Smith-Dahl had to fight to be heard. They sat and waited while adults screamed over each other, drowning out the voices of the youth whose future was the very question of the conversation. They grieved as leaders who had committed to work with them seemed to falter and back down at crucial times. They trudged through racism and disrespect. But they never lost sight of their purpose, and found ways to come together as a class to move the needle into a direction of hope.

I don’t think we give the younger generation enough credit. Our children have a voice that we need to hear. Too often adults claim to speak on behalf of younger people when in reality we’re mainly speaking over them. Or we use their “needs” to push our own agendas. We say “we hear you, but…” and with one word, dismiss their pleas. These younger generations will not be silenced. And they shouldn’t be. It’s up to us to amplify those voices and give them the platform to tell us what they need. We place so much expectation on our children. Homeroom shows us just how heavy those expectations are, and yet we don’t want to yield the microphone to the ones who are directly impacted by racism, who have a vision for their future, who don’t want to give up, who are supporting their families, who are sifting through endless information, who worry about a pandemic, and who are just trying to graduate. And then we want to tell them to be quiet when they speak up and out? I’m not tracking with that.

And so my question to anyone reading this is: are we really speaking for our children, or are we speaking over them? Because if I take away one thing from this film, it’s that there are times when I need to sit down, shut up, and let this generation take the stage. 

Homeroom is available for streaming on August 11th, 2021.