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The Little Prince – The Value of Childhood

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littleprince2“Growing up isn’t the problem. Forgetting is.”

Childhood is meant to be a magical time when play and exploration are the “work” a child should be about. But more and more, some children are being pushed to achieve just as adults are. In The Little Prince a girl who is being groomed for the “right” school by her mother is living a very organized and regimented existence—until her possibly mentally unbalanced neighbor opens her eyes and her heart to another way of seeing things.

If the title sounds familiar, it’s because this is an adaptation (or sorts) of the well-loved children’s book Le Petit Prince by Antoine de Saint-Exupéry. However, the Saint-Exupéry story is a story within the bigger story in this film. But it is also the engine that drives the larger story.

The world of this story is one of efficiency where everything is valued according to what it can add to the bottom line. It is a very mathematics oriented world. We hear news in the background that is all in some way about numbers and productivity. That seems the only thing that matters in the world—what can be seen and measured. Even when The Girl (voiced by Mackenzie Foy) is doing her constant studying it is always some form of math. She is being prepared to be another cog in the machine of this world.

But her house is next door to an old, wildly-bearded Aviator (Jeff Bridges). One day he sends her a paper airplane with the beginning of his story about The Little Prince who came to earth from an asteroid and taught The Aviator the importance of things that cannot be seen. (Fans of the Saint-Exupéry story may know that Saint-Exupéry was an aviator.) Slowly The Girl warms towards him and begins a friendship that leads her away from her books and into a world of imagination. Essentially she is being lured away from business school to instead study the humanities. (That is a tension that is very real—not only in higher education, but even in the ways we approach childhood education.)

Stylistically the film is divided by two forms of animation. The story of The Girl and The Aviator is done in CG animation, while the story of The Little Prince (which comes from the original book) is done in stop-motion animation. That works very well to remind us of the two worlds the film is living in.

What matters in this film are relationships: The Girl and The Aviator, The Aviator and The Little Prince, The Little Prince and a fox, The Little Prince and a rose. These relationships are based not in what one can get from another, but the joy and love that can be shared—not in anything that can be measured, but that only be seen with the heart. As we learn at one point, “It is only with the heart that we can see rightly.”

That means not only love, but also faith. When The Aviator speaks of what became of The Little Prince, The Girl wants to know how he knows The Prince is among the stars. How can he be sure? He responds, “It would comfort me very much to know for sure. But I choose to believe that he’s up there.” That, for me, speaks far more clearly than the historical creeds of the church.

This is a film that speaks of many deep things: the bottom line and its immeasurable spiritual cost, love and loss, the joy of childhood that we so often forget, and life and death and life after death. Yes, it’s a children’s story. Yes, it’s animated. And yes, it may make you want to be a child again. Hopefully, you’ll remember how to do that.

The Blu-ray edition includes the making of featurette and the music video of “Turnaround” by Camille. 

Firefly Lane: Friendship At Its Best…or Worst?

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“Who is your best friend?”

This question always made me nervous as a kid. Today, I’ll talk to practically anyone and quickly proclaim a stranger a friend, but the young version of me was incredibly shy and reserved. I didn’t go looking for friends and depended on a neighbor or two, someone on the bus, or mostly my cousins. I was naïve and content in my immediate bubble when I compared myself to the girls around me, and I didn’t exactly navigate the transition into my teen years with particular grace. Essentially, I was Kate Mularkey in Netflix’s newest adaption of bestselling series from Kristin Hannah Firefly Lane. Trade out my 1990’s setting for Kate’s 1970’s, and there I am. Longing for something elusive and waiting for the answer to that question – who is my best friend?

For teenaged Kate (Roan Curtis), her world is rocked when the beautiful and tenacious Tully Hart (Ali Skovbye) moves in across the street with her eccentric and addicted mother Cloud (Beau Garrett). On the surface they couldn’t have been more different. Where Kate is reserved and (mostly) content, Tully is vibrant and rebellious. Each missing what the other has to offer, they begin the trek into adulthood and lifelong friendship while weathering the next two decades, each fighting to find herself while clinging to one another.

FIREFLY LANE (L to R) ALI SKOVBYE as YOUNG TULLY and ROAN CURTIS as YOUNG KATE in episode 102 of FIREFLY LANE. Cr. COURTESY OF NETFLIX © 2020

As Kate and Tully begin their careers in journalism (now played by Sarah Chalke and Katherine Heigl), their friendship is the rock of all they do. Tully pushes Kate into taking risks and going after what she wants and Kate is the anchor to Tully’s tumultuous emotions and often erratic behavior. Kate still strives to be all things to all people, and Tully relentlessly seeks to carve out her name on-camera. And as the threads weave in and out with their present-day and future lives, Firefly Lane paints a portrait of a bond that is as fragile as it is concrete. By the end of this first season, we see just how long this friendship has walked the tightrope between devotion and – dare I say it – toxicity.

I hesitate to use that word because it seems extreme. But then again, so is Kate and Tully’s relationship. Their identities are intwined in a way that crosses the boundaries of marriage, parenting, careers, and everything in between. And while I wasn’t really invested until about episode three (I’ve never read the original), Chalke’s and Heigl’s performances pulled me into that complexity with their embodiment of these characters. I love their friendship, but I’m incredibly wary of their friendship. I want them to always be together, but I want them to let go and step into their own lives apart from each other.

With the inclusion of Ben Lawson, Jon-Michael Ecker, Yael Yurman, Jason McKinnon, and Chelah Horsdal (to name a few), Firefly Lane creates a believable community that surrounds Kate and Tully’s tug of war for identity. Together they all navigate the hard-partying 80s, establish families and careers in the 90s, and face life-changing events in the years immediately following the attacks on September 11, 2001. We watch them mature, yes, but we also are watching them fall apart.

I asked a question at the very beginning: “who is your best friend?” But I want to ask a different one now: “what is a best friend?” Is it someone you’ve simply known forever? Is it someone who promises to make each birthday something special? Is it someone who will step to the side for years so that you can shine? Is it someone who curls up under a blanket with you as you cry through mid-life tragedy? Is it someone who forgives you over and over for years until they literally have nothing more to give? I’d like to think a best friend is a combination of all those things and then some, and I hope as Firefly Lane progresses, that Kate and Tully can start to answer that question as well.

Firefly Lane streams on Netflix on February 5th, 2021.

7.09 Watching THE MIDNIGHT SKY + 2020 Top Movie Moments!

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In the 2020est of films, THE MIDNIGHT SKY tells the story of a world in chaos at the hands of a mysterious pandemic. Left alone in an Arctic research station, scientist Augustine (George Clooney) races to contact a crew of astronauts returning home to warn them of the dangers that await them. In our first episode of 2021, Seeing and Believing‘s Wade Bearden stops by to give us talk about connecting across the vast reaches of space, what it means to be the ‘right person’ and our Top 3 Movie Moments of 2020! (Yes, there were movies in 2020…)

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

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

7.09 The Midnight SkyDownload

Disenchantment Part 3: Seeing the Present in the Past

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After a season of self-exploration and dynamic worlding building in Part 2, Disenchantment has finally returned to Netflix. With the release of Part 3, the story picks up immediately after Bean, Luci and Elfo have fallen underground. After confronting her evil mother Dagmar and her army of Trogs. Bean and her crew must somehow escape and clear her name in order to reclaim Dreamland. 

Similar to previous seasons, Part 3 continues to follow Bean’s journey of self-discovery. With an impeding war coming and her father incapable of leading, Bean is pushed out of her comfort zone as more responsibility falls upon her. Spending less time in Dreamland than ever, Bean’s journey gives her the opportunity to get to know the outside world more. However, at the same time, she also learns more about herself, becoming a more confident person. In doing so, this season is able to lean much more heavily into Bean’s ever-expanding role in Dreamland. Suddenly having to take the throne from her father, Bean’s transition to queen also sees her facing potential doom from both Steamland and her own mother. As Bean unlocks her magical powers, the danger continues to build, potentially leading to a climatic showdown similar to other hero stories. 

Spending less time in Dreamland compared to previous seasons, Part 3 also greatly expands its world-building by exploring new areas such as Mermaid Island and continuing to develop previous cities such as Steamland. In doing so, this season allows the creativity of the writers to really flourish as each area’s citizens, species and environments are unique and vibrant.

Even so, what I found most disappointing was the sidelining of Luci and Elfo throughout the season. Once a major character, Luci sees very little growth in Part 3 and seems to just kind of ‘be there’ in the many scenes. In fact, he’s even become predictable in the way he acts. By merely saying something evil or helping Bean with her tasks, Luci now feels like a one-note, robotic pet. Similarly, Elfo’s character sees little growth as well. Getting a new girlfriend ever couple of episodes, it’s seems as though he’s been religated solely to comic relief as the stereotypical ‘hopeless romantic’. (At one point, he’s even in love with a ship…)

Despite its medieval setting, Disenchantment continues to tackle modern, real-world issues. Set in a time where female opportunity and mental health were at societal lows, the Bean we’ve grown to love is usually portrayed as a tough, confident fighter. However, in the episode “Last Splash”, we get a very different look into Bean’s psyche and her view of herself. In a therapeutic rant, we get to see how Bean’s difficult journey has taken its toll on her mentally, especially her parents’ toxic relationship. She believes that, over time, Dreamland has enabled her own self-abuse as she self-fulfills the toxic opinions of her mother and the town about her. Ultimately, in the end of her rant, Bean completely dismisses her own feelings and reinforces her belief that she is her own worst problem. By reinforcing her metaphorical emotional wall, Bean subsequently refuses to acknowledge the pain within her that is caused by others, choosing instead to lean once again into the culture’s poisonous worldviews about women and power. This moment of openness and honesty shows the toxic effects of abusive family relationships, especially in a culture of power. Powerful and moving, this is easily one of the best moments of the new season, and one of the many gems throughout Part 3 that dives deeper into the characters of Dreamland. 

Overall, Part 3 is a great addition to the Disenchantment story. Filled with eye candy in its world building and some solid progression in the larger narrative of Dreamland’s survival, the season works well. Meanwhile, Bean shows some tremendous growth in the spotlight as she tackles more complex issues regarding her own self-image, helping her to develop as a leader and hero. A fun ride that is worth watching, Part 3 proves that Disenchantment still knows how to cast a spell on its audience.

Disenchantment Part 3 begins its journey on Friday, January 15th, 2021.

Outside the Wire: Fighting for Our Humanity

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Set in the year 2036, Outside the Wire tells the story of Lt. Thomas Harp (Damson Idris), a drone pilot with a commitment to weighing the odds. When Harp engages his drone in an active war zone in the face of a direct order from his commanding officer, he is transferred to the Ukraine under the command of Captain Leo (Anthony Mackie). Soon after Harp arrives, he is stunned to discover that Leo is actually an advanced BioTech android, yet his captain’s love for human life may actually make him more human than his new recruit.

Directed by Mikael Hafstrom (1408), Outside the Wire is an action-packed film with a high concept that struggles to leave a lasting impact after the final credits roll. To his credit, Hafstrom creates a world of grit and intensity that offers consistent action from start to finish. Intense and focused, Hafstrom does a good job of involving the viewer in the action by keeping them (mostly) emotionally invested. What’s more, with the addition of Avengers break-out Mackie, Wire is also front-loaded with a charismatic star that can handle elaborate set pieces as well. Charming yet focused, Mackie does an excellent job as the technologically advanced Leo and provides the film’s heart. Meanwhile, relative newcomer Damson Idris (Snowfall) provides an icy counterpart to the Mackie’s more compassionate android that creates some solid tension between the two conflicting ideologies.

However, with all of these building blocks in its favour, it’s somewhat surprising that Wire simply doesn’t fully realize its potential. With a high concept and intriguing premise, the film has the opportunity to truly make a statement about the evolving relationship between man and technology. Unfortunately, a meandering script and an over-emphasis on battle scenes at the expense of character moments prevent Wire from hitting its target.

Having said this, the film does manage an interesting conversation regarding the lines between man and machine. Lt. Harp’s initial decision to break a direct order stems from his commitment to cold, hard logic. In essence, Harp’s dedication to rational judgment gives him confidence yet also causes him to weigh human life with mathematical precision. Despite being told to remove his drone from a combat situation, he concludes that, despite killing two of his own men, the fact that he could save thirty-eight others counterbalances the loss. (Incidentally, is this the first time that the military has been shown to be the more empathetic organization?) 

When he meets Leo, Harp is struck by his captain’s apparent compassion for all human life, despite his robotic existence. Leo’s desire to preserve the lives of all under his care recognizes their value, regardless of their strategic advantage. As such, Harp’s journey throughout the film becomes one that challenges him to understand what it truly means to be human, as taught by a machine. Having spent his life as a drone operator, Harp has maintained a certain level of distance from the realities of combat and human life yet his relationship with Leo provides him with the opportunity to become more intimately connected with others. In this way, Wire serves as a reminder of the importance of every human life, sometimes in defiance of logic and reason. (Though, admittedly, the film’s final twist threatens to undermine this conclusion.)

While there’s a lot to like about Outside the Wire, one can’t help but feel that there was the opportunity for so much more. Rather than focusing on the action and advanced tech, the film’s real strength lies in its characters, especially that of the more-evolved Leo. However, in the heat of too many battle scenes, it’s unfortunate that they are the ones who end up being left behind in the process.

Outside the Wire is streaming on Netflix now.

Cobra Kai: Still Alive and Kicking

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It’s not always easy to bring the past back to life.

For years now, we’ve seen films and series attempt to reboot or extend once-successful franchises with varying degrees of success. In a trend that never seems to go away, the hope continues to be that by latching onto what worked in the past, a refresh of the material will be welcomed back by old audiences while capturing new viewers. More often than not, with the passage of time, the magic is usually gone. Still, once in a while, a series manages to breathe new life into a dead franchise and create something new (or even better) than the original. 

This year, that series is Cobra Kai.

For those who haven’t yet heard, Cobra Kai is a sequel series to 80s classic The Karate Kid. Set thirty-four years after events of the infamous 1984 All Valley Karate Tournament, Cobra Kai shows that the lives of the two former karate finalists have taken very different paths. Whereas tournament champ Daniel LaRusso (Ralph Macchio) has become a successful car salesman, his defeated opponent Johnny Lawrence (William Zabka) struggles to make it through the day. Estranged from his son and working dead-end jobs, Johnny decides to find redemption by re-opening the Cobra Kai dojo of his youth and training a new generation of students. However, the rebirth of the controversial dojo reignites Johnny’s rivalry with LaRusso as their competing ideologies and methods unwittingly wreak havoc on the neighbourhood.

Once the property of YouTube Red, Season 3 sees the show moved permanently over to Netflix and, thankfully, the series feels as fresh and fun as its initial run. Although some side plots seem to distract from the overall storyline, the series manages to tie everything together in the end. Less about karate than it is about the brokenness of everyday people, Cobra Kai continues to be a generally slow burn of character development that climaxes with an epic finale. (Word to the wise, even though the last episode delivers what it promises, it definitely feels like a mid-season finale with a story arc built to reach its epic conclusion next year.) Well-written and energetic, Cobra Kai continues to care about its characters in ways that augment the action, as opposed to the other way around.

With the release of Season Three on Friday, the series picks up soon after the brutal high school brawl that hospitalized Miguel (Xolo Mariduena). With school starting up again, the Board has implemented a zero-tolerance policy towards violence of any kind (yet they don’t have any new security guards?). However, despite the school’s emphasis on peaceful reconciliation, tensions between Cobra Kai and Miyagi-Do continue to boil under the surface. As Johnny grapples with his role in Miguel’s tragedy, Daniel takes a trip to Japan in an effort to strike a deal that may save the sagging profits of the dealership.

While the series unapologetically leans heavily into nostalgia, it doesn’t necessarily feel slavish to it. In many ways, Cobra Kai simply feels like checking in on old friends from long ago while admitting that their lives had continued on since we last saw them. Whereas some reboots get lost trying to recreate the past, this is a series about people that can’t seem to move on from it. Once the king of Cobra Kai in his youth, Johnny Lawrence continues to try and rebuild (and pass on) the legacy of the one seemingly stable influence he had in his youth. Despite its toxic teachings of the time, Johnny still believes there’s something to be learned from the mantra of Cobra Kai.

Admittedly, it’s still somewhat funny how much this particular city relies on karate to settle their differences but the series continues to acknowledge this with a wink. (“I don’t understand why karate is so important to this city,” one city counsellor remarks.) Even so, for Daniel and Johnny, karate symbolizes much more than punches and kicks. To these men, karate represents discipline, self-confidence and a way to find family and acceptance. Both men once viewed their sensei’s as father figures (with varying successes) and, in turn, they want to pass on that opportunity to the next generation.

The heart of Cobra Kai keeps the series meaningful, especially through the character of Johnny, who continues to be the show’s soul. With his outdated views of the world and desire to remain ‘badass’, Johnny wants to recreate the toxic atmosphere of Cobra Kai not out of a sense of nostalgia but more likely because it’s the only thing that he knows. Despite his wealthy upbringing, Lawrence’s growth remains stunted by the endless parade of noxious voices that fed him throughout his youth. From his cruel stepfather to his psychotic and violent sensei John Kreese (Martin Kove), his young life was marred by toxic male voices that have warped his worldviews. Even so, while Johnny may be broken, there’s a desire to be a better man within him. With every step towards redemption, Johnny finds that his greatest battle remains within himself as he struggles to overcome the pain of his past that have led to his own flawed ideas about life (and himself). Though arguably the series’ greatest villain, Johnny Lawrence yearns for a fresh start.

In fact, in the world of Cobra Kai, everyone is redeemable. (Well, mostly.)

Whereas the original films leaned heavily on tropes of ‘hero vs. villain’, the series fleshes out (most of) its characters with complexity. From the impetuous Miguel to the battle-hardened Hawk (or is it Eli?), Cobra Kai paints each of its characters with a brushstroke of grace that shows their humanity yet gives the even darkest of villains a glimmer of hope. (In fact, Season 3 even lets the villainous Kreese have his journey fleshed out in order to bring some nuance and empathy towards the character.) In other words, this is a series that recognizes that everyone’s story features a mixture of wins and losses while acknowledging the positive and negative voices of those that helped form who we are today.

Even after all this time, Cobra Kai is a franchise that’s still alive and kicking. By bringing the ‘Miyagi-verse’ back to life, Zabka and Macchio have created a truly refreshing sequel series that reveals what happens when our present struggles to reconcile with our past. Furthermore, as long as they continue to develop characters and stories that feel honest, there’s no question that Cobra Kai still has a lot of fight left in it.

Cobra Kai is available on Netflix with Season 3 released on January 1st, 2021.

7.07 Reviving History in MANK

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Set in 1930s Hollywood, Mank tells the story of Herman J. Mankiewicz (Gary Oldman), a screenwriter with a scathing wit and a passion for alcohol, as he channels his experiences with the cultural elite into what will become his greatest achievement… the script for Citizen Kane. This week, we welcome Pop Life’s Richard Crouse and In The Seats’ Dave Voigt to chat about reading the present in our past and the relationship between integrity and power.

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

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

7.07 MankDownload

Voices of Fire: The Unicorns of Gospel

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Voices of Fire English Docuseries Is Streaming Online watch on Netflix

Based in Hampton Roads, Virginia at Faith World Ministries, Voices of Fire is the newest Netflix reality show and focuses on Bishop Ezekiel Williams’ vision of a diverse and inspirational gospel choir.  He gathered an expert team including a musical director, vocal coach, choir master, and his nephew, Pharrell Williams, in order to find the most talented group of gospel singers arounds.  (“Unicorns”, as Pharrell called them.)

Netflix 'Voices Of Fire' Sets Pharrell Williams Gospel Choir Search – Deadline

Bishop Williams wasn’t just looking to form a singing group.  His goal was clearly to have his message reach the masses.  His dream was to tour the world with this choir, stating that “music transcends racial divide and cultural boundaries”.  He expressed how people won’t sit down and listen to a sermon but they’ll listen to gospel music and receive the same message. He believed music makes the message more palatable.

It’s not long into watching Voices of Fire that you start feeling all kinds of emotion and it’s impossible not to feel the music in your soul.  Honestly, some of the voices that audition for the choir are the most beautiful you’ve ever heard.  

Hear emotional 'At Last!' rendition on Pharrell's 'Voices of Fire' | EW.com

Apart from these voices, the power comes from hearing the back stories of those who audition.  Some of them experienced the most unimaginable hardship.  It was often heartbreaking, but special to be able to get a glimpse into what made them who they are, and what brought them to music.  Those past experiences truly bleed into their music and increase the emotion that much more.

As someone who has been involved in church choir, I can vouch for the fact that it is a challenging yet beautiful experience.  When all of the voices come together in harmony, it’s powerful.  Religious or not, you can’t not feel it. 

Voices of Fire is a special journey to witness.  It’s available now on Netflix.

Mank: Nostalgia Never Felt So Relevant

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MANK (2020) David Fincher’s MANK is a scathing social critique of 1930s Hollywood through the eyes of alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of Citizen Kane for Orson Welles. Gary Oldman on the set of Mank. Cr. Nikolai Loveikis.

Set in 1930s Hollywood, Mank tells the story of celebrated screenwriter Herman J. Mankiewicz (Gary Oldman) as he develops what will become his greatest ‘opera’, Citizen Kane. Under incredible pressure to produce brilliance through his writing, Mank reflects back on his toxic battles with the mighty William Randolph Hearst (Charles Dance) that led to being blackballed by the same studios that once embraced him.

MANK (2020) Gary Oldman as Herman Mankiewicz, Arliss Howard as Louis B. Mayer and Tom Pelphrey as Joe Mankiewicz. NETFLIX

Directed by David Fincher, Mank is an absolutely stunning sight to behold. Shot using similar stylistic devices as it’s subject Citizen Kane, Mank is an absolute tribute to the Hollywood of old. Using filtered lighting, slow fades and layered text, the film transports the viewer back in time to the Golden Age of cinema. (In fact, the film is so convincing that one could be forgiven if they were oblivious to the fact that it was released this year.) What’s more, the film’s score by Trent Reznor and Atticus Ross (frequent collaborators of Fincher’s since The Social Network) is utterly remarkable, echoing the crescendos and bounces of early soundtracks to perfection.

In fact, the reproduction of old Hollywood is so dazzling that it’s possible that some may use it as a slight against the film. Inevitably, there will be some who believe the film has more style than substance, attempting to impress audiences with their slavish abilities to recreate the past. (For example, this was one of the most vocal criticisms of former Best Picture winner, The Artist, which blew onto the scene with its homage to the silent film era.) However, to claim that Mank is merely fancy camerawork and special effects would be wholly inaccurate. 

MANK (2020) David FincherÕs MANK is a scathing social critique of 1930s Hollywood through the eyes of alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of Citizen Kane for Orson Welles. Amanda Seyfried as Marion Davies.

To quote Mank himself, “This is different. This is about something.”

Perhaps it’s not surprising that one of 2020’s best films smacks of nostalgia. Unironically, this would be the year above all else that viewers may yearn for a ‘simpler time’. However, if anything, the film continues to prove how stories of greed and corruption continue to be relevant to this day. In the world of Mank, the image is what gives power. Whether it’s Hearst’s impressive estate or the bright lights of celebrity, notoriety seems to equal influence. (“People think because you’re on the cover of Modern Screen, they know you,” Marion moans.) Nonetheless, the pomp and prestige that wealth and notoriety appear to offer create a vacuum too easily filled by dishonesty and fraud. Though he struggles with his own vices such as alcoholism, Mank is fully conscious of his flaws and yet remains unapologetic about them. Held up against the false imagery around him, Mank’s authenticity and self-awareness is worn as a type of broken armour and reveals the challenges of swimming upstream with integrity at a time when the river is poisoned. 

MANK (2020) Gary Oldman as Herman Mankiewicz and Amanda Seyfried as Marion Davies. NETFLIX

The first screenplay by Jack Fincher (David’s father, who died in 2003), Mank is a tribute to the notion of the writer and, more accurately, the truth itself. Though he struggles with his own demons, Mank has little time for the pretense of others. Speaking with a razor-sharp wit, he is beloved at parties but often written off for his wild perspectives and insights. (“He likes the way you talk. Not the way you write,” Mayer shoots at him.) Even so, Mank continues to speak his mind out of principle and integrity, attempting to reveal the sins within the imbalances of power. As “the smartest guy in the room”, he is well equipped to recognize the difference between the powerful political puppet masters and their unwitting marionettes. To Mank, honour comes from cutting through the façade that those in power put on for others and speaking out on behalf of others.

MANK (2020) NETFLIX

Utilizing techniques from yesteryear, Mank offers something truly unique to this year’s crop of films that somehow feels both fresh and nostalgic. Even so, beyond the dazzling cinematography and gimmicky techniques, the film has much to say about the power of truth at a time when image is king.

Mank is now playing in select theatres and will be available on Netflix on December 4th, 2020. 

teenFish#10: Picturing Loss in POLAROID

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Welcome to teenFish, a podcast series that lets teenagers speak about media that matters to them in their own voice. Hosted by Daniel Collins (Infinity Warm-Up), teenFish airs every month and invites local youth to engage the truth and lies of the shows and films that excite them.

When high school loner Bird Phillips (Kathryn Prescott) discovers a vintage Polaroid camera, she remains unaware of the dark power at her fingertips. When she realizes that the old camera contains the power to take the life of whoever has their picture taken with it, she must decide whether to use the camera’s power or dispose of the cursed gadget. This month, Daniel and Jacob get together to talk about losing a loved one, meaningful mementos and horror cliches.

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