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Netflix

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!

Space Force: Netflix Spoofs Space Workspace

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If Steve Carrell’s Michael Scott had cursed more and been in charge of the new presidential directives to put boots in space, The Office would be Space Force. Here, Carrell is General Mark R. Naird, the Chief of Space Operations. He’s a hardworking soldier who has always played fair, hoping to one day direct the operations of the Air Force but now stuck with the unenviable role of putting Americans in space.

Netflix’s Space Force dusts off the workplace jokes but sends them into space so that the levels of humor are out of this world (groan). John Malkovich is Dr. Adrian Mallory, the scientist who actually knows how space efforts should work and who wrestles with his issues of inadequacy (thanks to the lack of respect he gets from Naird and others). Two other hapless souls, Ben Schwartz plays F. Tony Scarapiducci the poor soul in charge of social media for Space Force and Tawny Newsome plays Naird’s driver/helicopter pilot Angela Ali. Throw in some political conflicts (Noah Emmerich, Jane Lynch, and Patrick Warburton play other military branch heads) and plenty of family drama (Naird has a teenage daughter), and this really is a top-level workplace comedy.

While the workplace material has typical moments, there’s more here given that we’re talking about a based-in-reality-space exploration. Naird has to try to negotiate communication with a chimpronaut (a chimp in space) and deal with ridiculous technology that malfunctions as often as your cellphone. His daughter wrestles with being the daughter of a general. The opportunity to show inter-agency/branch conflict lends itself to myriad storylines, not to mention all the political asides that slide in to each episode. It’s like a crazy blend of insanity that allows us to watch comedians we know and love in completely different roles — and it rockets off in wildly, different directions.

Sure, network TV may be grinding it out thanks to the COVID-19 pandemic, but Netflix is still rocking it.

The Lovebirds: Love in the Frying Pan

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Netflix’s latest straight-to-streaming films are certainly rivaling what’s available in theaters. Too soon? In the romantic comedy The Lovebirds, Issa Rae and Kumail Nanjiani play a pair of lovers falling out of love who end up stuck in a murder mystery involving a secret cult and some bumbling drug dealers. Some of it doesn’t make any sense at all, but under the direction of Nanjiani’s partner on The Big Sick, Michael Showalter, the film is funnier than expected.

While The Big Sick and Stuber are Nanjiani’s cinematic claims to fame so far (he’ll be in The Eternals whenever that films), and some audiences have seen him in Silicon Valley, his latest film has more in line with Steve Carrell and Tina Fey’s Date Night or Jason Bateman and Rachel McAdams’ Game Night. Instead of a married couple out on a rare date or a couple involved in a couples’ group trying out games, Nanjiani and Rae’s Jibran and Leslie are a couple on the rocks, aware that the lifestyle they’ve been living as newly-in-love isn’t sustainable.

Then, disaster or some twist of fate depending on your perspective intervenes strikes and they accidentally hit a cyclist, get commandeered by a cop, and find themselves embroiled in a murder investigation. They are able to take shots at racial profiling, class warfare, and more, as they outrun the bad guys and the good guys, and try to figure out how to clear their names (I think). But the truth is that they never seem to be quite clear on where they’re headed, and it doesn’t really matter.

What does matter here is that the two of them find that the things that were pushing them toward breakup were less important, and the things they had in common were much more important. It’s a question of whether or not the frying pan (or the fire) will refine them and make them better, or cause them to crash and burn even more dramatically. It’s comedic genius — but it’s also a reminder that what threatens us and challenges us often brings out the best in us.

Sure, it’s profane and flip and raucous. Netflix has delivered a theatrical quality comedy that’s sure to entertain, and maybe even show us a thing or two about our own relationships.

Kate Nash: Underestimate the Girl – Fearless Authenticity

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While the title may suggest otherwise, never underestimate the girl.

At 18, Kate Nash burst onto the alt-pop music scene from relative obscurity. Quickly earning a platinum album and dominating the music charts, Nash became the voice of a generation. However, years later, after a traumatic encounter with her manager, Nash finds herself struggling to make ends meet. Taking odd jobs and selling off her clothes, Nash is forced to re-examine who she is and what it means to make her music in an ever-changing music landscape.

Directed by Amy Goldstein (East of A), Kate Nash: Underestimate the Girl is an intriguing behind-the scenes look at the struggles of life in the music industry, especially for young women. Walking with her along her transition to America, the film portrays Nash as a humble yet courageous artist who remains passionate about her music and style. Through her use of live performance footage and onscreen lyrics, Goldstein manages to keep Nash’s music front and centre throughout her journey. In doing so, she effectively and consistently builds direct connections between the heart of her songs and Nash’s life situation at the time. For Nash, her music is her voice and Goldstein recognizes the power within that.

In fact, the power of voice—or, more accurately, what happens when people try to take that away—remains a key theme throughout Underestimate the Girl. Whereas Nash’s career may have shot to stardom early on, things take a turn for the worse after she is taken advantage of by her manager. By shattering her trust, the damage done by her manager crushes her emotionally and financially. Struggling to pay her bills, Nash wrestles with options ranging from writing pop music that doesn’t suit her brand to selling sci-fi merchandise on a YouTube shopping channel. However, with each venture, Nash appears increasingly saddened, not only because of her financial situation but because each venture seems to steal another piece of her soul. (This frustration becomes particularly apparent during the scenes where she attempts to work on a new ‘pop’ sound as she is repeatedly forced to hold her voice back in an effort to create something that will ‘sell’.) 

However, despite her circumstances, Nash remains determined to speak her voice as an artist. Although she is told that her music doesn’t fit neatly into the music scene, Nash courageously fights for opportunities to express herself in her own way. Inherent to her creativity is a fearless authenticity that enlivens her soul. Because she understands who she has been created to be, Nash recognizes that her value as an artist lies in her ability to speak in her own voice. In other words, her individuality is tied to her energy and effectiveness as an artist. 

In this way, Underestimate becomes an encouraging picture about the life-giving power of a commitment to honouring who we are. By following Nash as her subject, Goldstein strikes gold by bringing us a rock star that we can relate to. While her story of superstardom may differ from our own, her humility and genuineness on camera makes us believe that she is also one of us. Her pluck and tenacity serves as a reminder to all of the value of knowing who you are and ferociously fighting to be heard.

While Kate Nash: Underestimate the Girl may be an inside look at the reality of trying to make it in the music business, its true value is deeper than that. Fun but fearless, Nash’s honesty and humility are what truly sets the film apart as she continues to prove her value to others by simply being herself.

Kate Nash: Underestimate the Girl hits ALAMO ON DEMAND on Friday, May 22nd, 2020