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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.

This Way Up: Nowhere to Go But…

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It’s always hard to go home again. But it’s even more difficult when you’re bringing your own emotional baggage along with you.

Returning for its second season on Hulu, This Way Up is a comedy series about Aine (Aisling Bea), a sharp English-as-a-Second Language (TESL) teacher who has recently finished some recovery time in a rehab facility. After suffering a nervous breakdown, Aine returns home to reconnect with her loving but protective sister, Shona (Sharon Horgan) and attempt to pull things together. As she returns to work (and her old life), Aine rediscovers the challenges and pressures that caused her such stresses before and attempts to move forward with a new determination to survive.

Written by Bea, This Way Up is an engaging and hilarious form of coming-of-age story. Oftentimes, when a series is written by its star, the series can either feel self-indulgent or garner a sense of authenticity. Thankfully, Up falls into the latter category as Bea continues to create a character that feels real. In virtually every scene, Bea feels present and sincere in her performance. Whether she’s bantering with her sister or frustrated by those around her, Bea allows Aine to feel her feelings with strength and courage.

What’s most refreshing about Up though is the way that it tackles mental health issues with earnestness and honesty. Unlike other projects that simply portray their main characters as having to ‘get their life together’, Aine is allowed the freedom to break down at times. Coping with her own anxieties and the shame associated with her time in rehab, Aine is a work in progress. For her, health may not a straight line yet she continues to move towards it. Though she may have her daily struggles, she bravely remains determined to come out on the other side of her depression. In this way, the series offers a balance between the daily challenges of mental health and the courage that it takes to work through them. 

This sort of emotional processing was especially visible in Season One as Aine attempted to rebuild the live that she had left behind. With the release of Season Two, however, we do find Aine in a better place. With her life somewhat sorted out, she has finally regained some stability which has allowed her to become more emotionally healthy. With her relationship with Richard beginning to bloom and the offer of a new and exciting role at work, she has started to take some positive steps towards moving forward in her life. However, while Aine’s life feels less chaotic, Shona’s is beginning to unravel. Torn between two lovers, Shona is finding it difficult to balance the life she has and the one she potentially may want.

By putting a greater emphasis on Shona’s journey, Up effectively balances the fact that everyone is broken to some capacity. While Aine may have been the one to go to rehab, characters like Shona and Richard demonstrate their own inability to cope with the stresses of life and relationships as well. However, in each case, the series also paints its characters with a brush of understanding that recognizes their brokenness but also allows for grace. In Up, everyone may have baggage but, at the same time, there is also hope for all.

Funny and sharply written, the second season of This Way Up continues to give Bea the opportunity to shine but she is not the highlight of the series. Instead, in a rare matter of praise, the most noteworthy aspect of Up is its sensitivity towards those who struggle with daily mental health issues. Like Aine, this is a daily struggle for many. But, also like Aine’s journey, the series reminds the viewer that there is always the potential for Up.

The second season of This Way Up is available on Hulu on Friday, July 9th, 2021.

Rewriting the History Books: 1on1 with Questlove (SUMMER OF SOUL)

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One of the most horrific things that can be done to a culture is to erase it from history. But it’s always something special when those storie are finally given the representation that they deserve.

The directorial debut by Ahmir “Questlove” Thompson, the new documentary  Summer of Soul takes the viewer back to the summer of 1969. At a time where Woodstock is fondly remembered and the moon landing changed the world, The Harlem Cultural Festival also made a mark on cultural landscape. Filled with six weeks of incredible concerts by Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight & the Pips, Ray Baretto, Abbey Lincoln & Max Roach and more, one would expect that the fest would be as well-known and fondly remembered as Woodstock itself. However, until now, the footage was never seen and largely forgotten. 

Considering that the festival that had seemingly been removed from the history books, Questlove was shocked when he first found out what had taken place.

“I first inadvertently saw the footage back when the Roots went to Tokyo in 1997,” starts Questlove. “My translator for that tour, who knew I was a soul fan, took me to a place called the Soul Train Cafe. So, unbeknownst to me, I was watching two minutes of Sly and the Family Stone’s performance. But, because it was what I knew to be camera two (which was the bird’s eye view of a nosebleed section), I didn’t know I was watching the Harlem Cultural Festival. I just assumed that all festivals in the ‘60s were from Europe because America really didn’t have that culture yet. [Then, I] find out exactly 20 years later when David Dinnerstein and Robert Fivole told me that they had this footage and they wanted me to direct the film. So, first seeing it without knowing it in ‘97 and then it was presented to me in 2017. Even then, I didn’t believe it was real.”

As a first-time filmmaker, Questlove also notes that this experience has been formative in his development as both an artist as a storyteller.

“Without being all touchy feely with it, this project more than anything has helped me develop as a human being,” he reflects. “Sometimes artists can be really neurotic, living inside our heads… I will not hesitate to admit that, of all the things that I’ve done creatively, this is the one that I was really, really nervous about. And, by nervous, I mean, scared, partly because I’m a perfectionist. What I will say is that this film has really brought out an awareness and a competence in me that I never knew that I ever had. A lot of the times everything that I do creatively is behind a shield. Behind the drum set… With the exception of teaching at NYU, you guys have never like experienced me one-on-one, There is always a barrier that gets you from getting in there. That’s sort of how I thought I liked it. So, I will say that, with the amount of confidence that I got as a human being, this was a game changer for me.”

“But on a technical side of things, I also learned the power of editing. Most Roots albums are these gargantuan, ‘everything but the kitchen sink’ projects. This is what I’m bringing to the table. My first draft was like three hours and 35 minutes. This is where I really learned that less is more and less is impactful. The three hour and 35-minute version of the film probably wouldn’t have hit you in the gut more than a very succinct two hours.”

Although, with all that he has learned throughout the filmmaking process, he also felt that his skills as an artist also allowed him to tell the story in his own unique voice.

“Me being a DJ’s is exactly what informed me on how to tell the story,” Questlove  explains. “There was a point where I was wondering ‘Could I take the same approach that I take deejaying or putting a show together with this movie?’ That’s exactly what I did. So, for five months, I just kept it on 24-hour loop, no matter where I was in the house or in the world. If anything gave me goosebumps, then I took a note of it. I felt like, if there were at least 30 things that gave me goosebumps, we could have a foundation.”

“I tend to work backwards whenever I’m given a project,” he continues. “The first thing I think about is what is the last 10 minutes of the show or the set that makes the person that goes home think ‘Man, that was incredible’ because it’s usually the last 10 minutes of a show or a presentation that’s your chance to make your audience [forget the rest]. I’ve had disastrous Roots shows where I knew, ‘okay, if I make these the last two songs and do this certain things, they’ll forget about what happened in middle of the show.’ That happens a lot. So, that’s a trick I play. Of course, I wanted to make my entry in the film world my version of inserting myself in this film… I figured that [Stevie Wonder’s drum solo] was the best way for me to crash land into your lives as a director, without really being about me. We have not seen Stevie wonder in a sort of in this light of a drummer so I thought that was the perfect beginning. That’s pretty much how I crafted the show. I searched for my ending. I knew I wanted what my beginning was and then I worked backwards. So .I added it and paste this film backwards as opposed to the other way”

Taking place in the backdrop of 1969 when the Civil Rights Movement was at its peak, its shocking that the festival has remained deleted from the history books. Asked what he believes needs to take place in order to prevent such erasure from happening again, Questlove suggests that conversations have changed in a healthier way in recent years.

“This is a step forward,” he points out. “This is the first time that I’m really seeing conversations that were never had before, especially post-pandemic. We weren’t talking about mental health for Black people and we really weren’t speaking of Black erasure. Previously, before we sort of coded it as like cultural appropriation, which was like a really politically correct way of saying… ‘Yo man, why always bite my [stuff]‘ or whatever. It was always sort of draped in slang so that you couldn’t see the heart or the sincerity of what the problem was… I know this one thing: this isn’t the only out there… So, perhaps maybe this film can be an entry sort of a sea change for these stories to finally get out. But really for us to acknowledge… one of the first ever like Black festivals is important to our history. Normally, the process is that we talk about it for three months and then we forget about it. So, that’ll remain to be seen, but I know as for me, I didn’t come into this wanting to be a director or any of those things. I do believe that again, creativity is transferable. This is not my last rodeo with telling our stories. If anything, I’m more obsessed now than ever to make sure that history is correct, so that we don’t forget who this artist is, or that event.”
Featuring performances from Stevie Wonder, Sly and the Family Stone and many more, Questlove was fascinated by the balance of styles that took place within the festival. With the development of Summer of Soul, he attempted to mirror that blend of jazz, soul and gospel music in order to show the therapeutic nature of the moment.

“As far as I’m concerned, there was a perfect balance of soul music, free jazz and salsa music,” says Questlove. “For me, I kind of saw the gospel and free jazz as one in the same thing. Oftentimes, I’m a guy that’s always doing litmus tests with people, as far as testing music out on them… but there’s one thing I always noticed. When I play really intense soul music for younger people, they tend to find James Brown’s yelling humorous. That’s funny to them because we live in a meme culture. So, those three seconds of something out of context can seem funny to people. There was a lot of, I guess, what we can call primal musical expression or primitive, exotic expression, or, in layman’s terms, like people acting wild. I wanted people to know that that was more of a therapeutic thing than anything.”

“So, if it’s a gospel singer, that’s catching the spirit. If it’s Sunny Sharrock doing one of the most atonal destructive, violent souls I’ve ever seen on a guitar… I wanted people to know that this just isn’t black people acting wild and crazy. This was a therapeutic thing and, for a lot of us, gospel music was the channel because we didn’t know about dysfunctional families and therapy and life coaches that we have now.” 

With such a personal project, it’s fair to say that Questlove found it a particularly emotional experience. For him, one of the most surprising elements was the realization that the type of musical code-switching of that era still affects his own life today.

“The emotional component of the film was something that I wasn’t preparing for and really didn’t know what was going to happen,” Questlove explains. “The sort of emotional trigger moment, at least where the Billy Davis Jr. and Maryland McCoo portion, was the fact that… my memory of all the 5th Dimension performances I saw were sort of composed and unsteady and very passionate, sophisticated. This performance of theirs at the Harlem Cultural Festival was closer to that of a gospel revival. I’ve never heard Billy Davis—with the exception of one of their songs on their solo records—use his raspy gospel baritone, like that sort of James Brown sort of thing. So, I thought it was humorous. I was like, ‘Wow, Billy, I’ve never heard you use your gospel register before.’ They kind of opened the door and said, it was because we were comfortable and excited to be there. It wasn’t the pressure of [being] on the Ed Sullivan show or the Jack Parr tonight show.” 

“And I realized then, Black people have to code switch all the time. It’s not just in the office space, but even in entertainment, because I related to that. I’m a guy that has to adjust his show… What’s the audience look like? I had to code switch all my shows that aren’t transferable to each audience. I have to adjust it for every place we go to. And I noticed that, and that was their way of telling me that they too had to go through that pressure.”

However, at the same time, Questlove also points out that one of the most emotional components to the project was the fact that it validated the memories of so many who felt the sting of that erasure of Black history..

“Opening that door is also Mussa Jackson,” he remembers. “He was five years old at the time and I was a little bit, like ‘What five-year-old is going to give me insight of the emotional deepness of being there when he’s five years old?’ He is the thing that won us over was like, this is my first memory ever, but he wasn’t sure he had it… So, once we showed him the footage, suddenly the tears started welling because for him as a 57-year-old, he didn’t know if he remembered it. He didn’t know if anyone believed him. If I didn’t believe this happened as an adult, who’s going to believe a ten-year-old… So, for him, it was sorta like that little boy that cried wolf exoneration moment. Like, I knew this happened. That’s why I started crying. So, I didn’t realize there was a heavy emotional component really until we allowed people to give commentary. I’m so glad we made that decision instead of not doing that.” 

Summer of Soul is available on Hulu on July 2nd, 2021.

To hear the full press conference with Questlove, click here.

WeWork: Fake it Until You Make it

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Everybody wants to believe in unicorns. 

These fabled creatures are majestic to see on paper. With every image, they inspire dreams and hopes of the Fantastic. But, no matter how hard you look, it’s clear to see that they never existed in the first place.

Based on this description, unicorns also exist in the business world—although the end result is the same. Directed by Jed Rothstein, WeWork: or the Making and Breaking of a $47 Billion Unicorn follows the unbelievable rise and fall of one of the largest corporate flameouts in recent memory. Led by their magnetic hippie leader Adam Neumann, WeWork began with a simple vision: to give young businesses a place where they could work together and support one another as they launch. Growing at an explosive rate, their community-centric ideal sent waves through Wall Street, amassing global interest. However, if something looks too good to be true, it probably is and, eventually, dreams must face the hard truth of reality.

Compelling from start to finish, WeWork is an amazing cautionary tale that speaks to the power of vision but the toxicity of arrogance. In WeWork, Rothstein has a fascinating subject that highlights the unique state of the business world. Coming at a time where YouTube millionaires have become commonplace, Neumann’s story almost sounds familiar. Loaded with a dream of creating space to support small businesses, this young man and his team built a business that seems worth admiring. (Does it get any more mythic than the tale of a dreamer empowering other dreamers?) However, at the same time, it quickly becomes clear that WeWork is not going ToWork financially, until ‘creative bookkeeping’ keeps them in the game. Filled with interviews from those who participated in (and bought into) Neumann’s ideal world, Rothstein does an excellent job of presenting a well-rounded portrait of WeWork’s culture from the inside. While never endorsing Neumann, neither does he fully demonize him either, allowing the viewer to decide the true value of his vision.

With this in mind, the most polarizing aspect of WeWork is Neumann himself. Part guru, part Zuckerberg, there’s a lot to admire about the young dreamer. His charisma and charm are infectious, especially at WeWork’s initial launch. However,WeWork also recognizes that these attributes, while attractive to follow, do not necessarily make a quality leader. With a mantra and expectations dependant on employees buying into their corporate culture, Neumann’s personality seems to border on cult leader at times. Preaching the benefits of community and, at times, world domination, he speaks as a spiritual guru and works (seemingly) with little accountability. (As one person says, ‘If you tell a 30-something male that he’s Jesus Christ, he’s inclined to believe you.’) Then, as things begin to spiral out of control, Neumann’s commitment to the vision makes him both sympathetic and terrifying as he attempts to scramble to preserve what’s left of his dream. 

What’s amazing is that WeWork’s premise that start-ups could work together in an open space actually appears to have merit. Neumann’s vision to bring people together to achieve their dreams is a surprisingly powerful model for businesses moving forward, especially for young Millennials who truly believe that they can change the world. (What’s more, the fact that this took place immediately before a global pandemic is not lost on WeWork, as former employees yearn for the type of community that was pitched to them when they first hopped on board.) Led by a simple vision, WeWork gave young people the opportunity to work in a Facebook or Google-esque environment while still creating their own vision. This was an environment where people could feel supported by one another as they attempt to carve out their niche together… and it was working. While there will be some that question their expansion into the world of housing and education, there is much to be said about the value of their intent. To Neumann and his wife, the true value of WeWork as a company began not out of financial value but in its (supposedly) spiritual emphasis on connectivity.

The one thing lacking from this film is the voice of the enigmatic creator, himself. Though its completely understandable why he would not want to participate, one wishes that Neumann would have agreed to appear in the doc so that we could hear his perspective. His belief that the workplace—and the world—could be transformed by collaborating and celebrating the achievements of others is a noble goal and seems achieveable. To change the face of Wall Street while doing it though truly does seem too good to be true.

Most unicorns do.

WeWork is available on Hulu on Friday, April 2nd, 2021.

Solar Opposites: Relaunching into Season Two

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Justin Roiland and Mike McMahan, the comedic geniuses behind Rick and Morty, are back again with the second season of Solar Opposites. Returning to the journey of the aliens from Shlorp; Korvo, Terry, Yumyulack, and Jesse and their goal of evolving their Pupa to terraform Earth. Similar to the first season, the viewer embarks on the comedic journey of this alien family on the planet Earth surviving and adapting to human culture. As well as trying to survive with each other’s contrasting personalities, Korvo and his replicate, Yumyulack, only want the renewal of their homeworld Shlorp. Korvo and Yumyulack want nothing to do with humans, seeing our species as disgustingly greedy selfish beings. However, Terry and his replicate Jesse begin to relish in America Earth culture as well as having a wholesome outlook on our species, seeing our potential as something greater.

The story and tone of Season Two is very similar to that of Season One. In terms of structure, the A plot features either Korvo and Terry, or the B plot features Yumyulack and Jesse, though sometimes they switch turns. Then, there is the glorious C plot of what people considered the best part of the show: “The Wall.” The A and B plot featuring the aliens is incredibly creative and fun. Justin Roiland really takes his creative talents from Rick and Morty and puts them to good use on Solar Opposites. Crazy alien designs, technology, made up alien words, and extreme sci-fi action sequences really portrays how “alien” these aliens are. 

There are some issues that I found with S2 (and still have) with Solar Opposites, in general. Its goal seems to still be relying too heavily on the high-concept sci-fi elements of the show. Though creative, the story itself is much too linear, leading to it being predictable and straightforward. Comparatively, Rick and Morty has high-concept sci-fi elements but also maintains complex characters and plots that are unpredictable and always challenged the viewers expectations and perception of traditional story arcs and narrative. As a result, Solar Opposites feels like a much more laxed version of Rick and Morty, with a lack of plot and sci-fi elements that are not high-concept or creative enough to make up for it. 

Solar Opposites‘ A and B Plot are both C-tier at best. However, Solar Opposites C-plot “The Wall” is an A-tier story beyond the show itself and deserving of its own standalone story. Jumping straight back into the events ending from S1, the shrunken inhabitants living in Yumyulacks and Jesse’s wall continue to survive and live on in their seemingly post-apocalyptic community. What makes it so great is that, unlike the alien storyline, the wall has a serialized narrative with characters that are three-dimensionally written with realistic personalities, as well as having actual stakes on the line living in the wall. This is a huge contrast from the aliens who all are one-note characters that are boring and predictable.

Another great thing about the Wall is that the scenario and scenery are immersive. Everything from the props and background is in there under the consideration of the inhabitants being tiny. One small example comes through the food in the Wall. Things like berries are massive to them, and having a lack of traditional protein in the wall has caused the people to adapt and use things like mouse milk and the meat of insects. Even something as small as BBQing an ant roast-pig-style really help open up this immersive tiny civilization that they’ve built. Everything from their economy, houses, clothes, and politics is built upon the foundation of their tiny situation. The creativity really contrasts with the alien’s plot. Making the wall story that much better and the alien plot much worse. They really are solar opposites. 😉 I can’t wait to see more of the Wall next season and am far more invested in the ongoing situation happening there than the aliens goofing around. 

Season 2 of Solar Opposites picks up with the same vibe and energy of the first season. If you enjoyed S1, then you’ll definitely enjoy season 2. The alien family continues to survive on earth, with some viewers enjoying it more than others. More importantly, the Wall is back and better than ever as it continues to shine and keep me invested into the story. Overall, Solar Opposites is still as fun to watch as last season and worth recommending.

Solar Opposites Season Two is streaming on Hulu.

Boss Level: Groundhog Death

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Trapped in a never-ending time loop that always ends with his inevitable (and usually brutal) death, former special agent Roy Pulver (Frank Grillo) is beyond frustrated. Constantly hunted by contract killers, he has no idea why he seems to have a target on his back—or why he must keep reliving the experience. When he discovers that a secret government organization led by Colonel Ventor (Mel Gibson) seems to have the answers about his fate, he both must outrun the ruthless assassins who relentlessly pursue him and attempt to save his ex-wife (Naomi Watts) before the clock runs out… again…

Directed by Joe Carnahan, Boss Level is a ridiculous and free-wheeling cacophony of bullets, blood and bad guys that fires on all cylinders from start to finish. 

It’s also ridiculously fun.

Pumped up on 70s rock music, the film feels like the delicious result of throwing Groundhog Day, John Wick and Scott Pilgrim vs. the World into a blender and hitting the ‘puree’ button. Though the action is intense and graphic, this ‘ode-to-video games’ runs at full speed with a sardonic wink and never takes itself too seriously. Known for such actioners as Smokin’ Aces and The A-Team, Carnahan has made a career out of his ability to balance comedy and violence and that skill is on full display here. With every repetition, Carnahan understands that variations are needed to keep the audience interested and he make subtle tweaks in each encounter to show Roy’s growth and his increasing ability to defeat the endless parade of adversaries in his way. 

As the film’s central core, this is also a film that rests solely on the muscular shoulders of veteran actor Frank Grillo, who truly shines in the role of the loveable anti-hero. Though likely best well-known for his role as Crossbones in the Marvel films, Grillo has mostly languished away in B-movies and secondary characters for some time. While Boss Level may not necessarily be a high-profile film, it certainly provides him the opportunity to establish himself as a legitimate action star and he makes the most of his chance. Attacking the set-pieces with intensity, he exudes a mix of frustrated brokenness and rogue-ish charm here that shows the talent he truly possesses as a leading man. (If anything, the only disappointment in the cast is Gibson who, through no fault of his own, is given very little to do other than sit behind a desk and be ‘bad’.)

Revenge films can be somewhat ridiculous in nature—let’s not forget that John Wick is really about a man seeking vengeance for the death of his puppy—and Carnahan knows it. As a result, he leans into the playfulness of the gaming concept with a glee that we haven’t seen in his work for some time. Without an established IP or any particularly expectations of his audience, Carnahan manages to avoid the traps that so often hinder other ‘gaming’ films and simply lets the viewer enjoy the ride. With green pixelated graphic cards, increasing ‘leveling up’ for our hero and wild character physicality, Boss Level fully understands the digital world that it seeks to emulate and it does so with enthusiasm. Violent, irreverent and repetitive, each victory feels like an accomplishment, even if it usually results in Ray’s death with a more difficult adversary. (In fact, the film feels so much like a video game that one almost expects to hear a voice-over to demand that he ‘finish him’ as each boss is defeated.) 

Even so, underneath the gunshots and swordplay, it’s worth noting that Boss Level does have a soul. While his endless ‘respawns’ help him learn how to defeat his foes, his character begins to recognize that revenge feels incomplete. Having lost the woman he loved and their son due to his past mistakes some time ago, there’s a sadness that plagues Ray. Even though his bloody vengeance provides an outlet for his rage, it is unable to fill the void in his soul. As a result, without giving any spoilers, there comes a point where Ray recognizes that the best use of his repetitive life is to level up as a person, as opposed to his warrior skills. This shift in perspective also allows him the freedom to recognize that the nature of true victory in this world of never-ending bloodshed lies in the relationships that we have as opposed to the bosses we defeat.

With a refreshing sense of silliness and fun, Boss Level is an entertaining night for any action fan. Carnahan and Grillo have created a world that carries an old-school gaming mentality yet never loses its humanity. Underneath the violence and insanity, there’s a beating heart to the film that keeps it from losing its way. 

So, put my quarter on the bottom of the screen. I’m ready to play again.

Boss Level streams on Hulu on Friday, March 5th, 2021.

The Ultimate Playlist of Noise: Listening for Life

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One of the strangest popular sub-genres in the last decade has to be the ‘teen cancer’ genre.

Having risen to prominence in recent years, there appears to be an ongoing interest for learning to experience one’s life when faced with an often-deadly disease. From the good (The Fault in Our Stars, Me and Earl and the Dying Girl) to the forgettable (Then Came You, Midnight Sun), there are countless films in the last decade that embrace the dark realities of trauma, usually with mixed results. It may seem counterintuitive but these have often become defining films for a generation of teens who are looking to experience life by staring into the face of death. In Hulu’s The Ultimate Playlist of Noise, the outcome lands somewhere in between by offering a relatively charming film that still feels somewhat lacking.

Directed by Bennett Lasseter, The Ultimate Playlist of Noise tells the story of Marcus (Keean Johnson), a high school senior who is so infatuated with music that he creates mixtapes for his friends to meet their various needs. When an unexpected seizure reveals a tumour in his brain, Marcus is stunned to learn that the impending surgery will leave him without hearing. As he grapples with his future, Marcus leaves home on a road trip with the intent of creating the ‘ultimate playlist’ of sounds that he wants to experience while he has still the opportunity to do so.

It’s worth noting that Playlist does have a certain sense of style. With its love of 70s rock (!), cassette tapes (!!) and handwritten text, Marcus is a young man who seems to yearn for tangible experiences. What’s more, the chemistry between Marcus and potential love interest, Wendy (Madeline Brewer) produces enough moments of energy to prevent Playlist from losing its way. Though it’s hardly the best example of modern teen drama, the two leads work well together, creating some fun banter and ‘life moments’ that will resonate with its target audience.

Even so, the film still feels hollow at times. It’s hard to explain but, amidst its exploration of what’s real, the film doesn’t always feel like it’s being honest. Side plots like Wendy’s ex-boyfriend and his parents ‘desperate search’ to find him never seem fully resolved. In addition, it is somewhat troubling at times to see the way in which Playlist wrestles with the prospect of deaf culture. Unlike Darius Marder’s stunning Sound of Metal, Playlist seems to wash over the concept of hearing loss for the most part. While it’s entirely understandable that Marcus would be terrified about losing the sense that he holds most dear (as exemplified by his love of music), it is somewhat surprising how little the film explores the potential of his new life.

But really, this isn’t a film about losing your hearing. 

Rather than focus on life after Marcus’ surgery, Playlist leans more heavily into the imminent nature of change. (In this way, Playlist takes more of its cues from The Fault in Our Stars than it does Sound of Metal.) As a coming-of-age drama, the film takes the time to appreciate the smallest things in life that we take for granted. As Marcus embarks on his journey, he discovers an almost lyrical quality to the smallest of sounds and moments, be it a thunderstorm, roaring chainsaw or the moo of a cow. As is often found in these sorts of stories, Marcus’ playlist is really about discovering and experiencing what’s real for himself. While his mother attempts to prepare him for the next phase of his life with ASL classes and church events, Marcus is more concerned with closing the book on his life up to this point. For Marcus, his loss of hearing is an oncoming wall to which he cannot see past. As a result, he needs to believe that he’s actively ‘lived’ before he begins to lean into the future that approaches.

While the film carries charming performances and some moments of joy, The Ultimate Playlist of Noise does play a little too fast and loose with its subject matter to ever feel like it fully rings true. Even so, though it may not be the best entry into this unique sub-genre, there’s enough to enjoy about this Playlist to give it a spin.

The Ultimate Playlist of Noise is available on Hulu on Friday, January 15th, 2021.