Reviews

Why do Taylor’s Versions make us so emotional?

/ Heather Strong Moore / Leave a comment

Taylor Swift’s super power has always been her ability to create connections. Starting from when she was a teenager in the 2000s, she put tremendous effort into her lyrics and crafting word puzzles and hidden messages in the liner notes for fans. Then with the birth of social media and Youtube, she harnessed the power of those platforms to allow fans to have a window into her life, making us feel like we were her friends. She was the exact right age to both understand and leverage social media, something she remains adept at in our current moment. Few artists and public figures have been as intuitive with internet tools as Taylor. She has somehow always known how to best engage with each platform in ways that build para-social bonds. From direct engagement with fan posts, to tapping into internet trends, to her own posts and sharing, she has made fans feel like we are a community and that she cares about us. 

Now we’re in the era of Taylor Versions. Taylor has been a long-time advocate for artists being fairly compensated for their work, and was public about her desire to own the masters of her first 6 albums with Big Machine Records. When they were sold out from under her, to a specific person that she had long had personal issues with, she hit a breaking point. To walk away from her original masters was a painful sacrifice for her, but she resolved to re-record her first 6 albums with her new record label which would allow her to own those new versions of her songs. Taylor’s Versions. 

Some artists have tried this before and have largely been unsuccessful. Fans have bonds with original records, they’re often not motivated to go buy a new copy of the same songs, at the end of the day we’re all creatures of habit. So everyone knew this was a big gamble with a low likelihood of success. All signs pointed to the public assuming she was being dramatic and just making a money-grab, and this risk turning out to be a failure. But as we know, Taylor’s Versions have been wildly, unpredictably successful. How could old albums that most fans already owned turn into such a cultural phenomenon?

This is where people again underestimate the power of connection. This is something that happens to women all the time, from our relationships to our workplaces. Our ability to create connections and teams is undervalued in favor of “hard skills.” Making people feel close to us and to each other is not seen as a “professional” offering. But Taylor has made that “soft skill” into big business, proving that emotional intelligence, empathy and compassion are crucial to professional success.

And it’s this soft skill that is why we all rushed to stream every TV album, faithfully avoiding her un-owned originals like the plague. It’s what made us cry when we saw (Taylor’s Version) beside each beloved song. And it’s what makes us so emotional when we listen to her mature voice singing songs that she wrote and performed as a much younger woman. It’s more than simple nostalgia, it’s reflection and collectively marking the passage of time.

Because Taylor is so good at infusing everything she does with personal connection, we all felt attached to those songs when they first came out. Every fan has stories about what each album and different tracks meant to us at the time. The way it reflected something we were also going through, and is strongly associated with a particular season of our lives. And so Taylor is not the only one revisiting those former emotions and seasons. We all are. Listening to those songs again takes us back to those past moments. And hearing them in her older voice reminds us that we are older now too. We’re not in the same place we once were. No person or life is truly static, we’re all evolving and passing through our own distinct eras as the years go by. Hopefully we take time to reflect on changing seasons, but it’s unique to have such a clear catalyst for looking back and taking stock of how far we’ve come. 

Hearing her sing “Fifteen” allowed us to remember our teenage years with the benefit of distance and time. Thinking about how much she’s weathered and how many challenges she battled gave us the room to pause and consider where that’s also been true in our lives. Listening through Red TV illuminates the places we have invested deeply, been carefree, deeply hurt, and had to begin again. And watching Taylor sing Dear John reinforces our own resilience and the ways we have endured toxicity and inequality and are still here. It all makes us emotional because Taylor has normalized having emotions and feeling things strongly, and telling the truth about the complexity of life for women. Taylor’s Versions have opened up a profound shared experience of looking back, marking our progress, and looking forward to what is yet to come. 

Which is the final takeaway for what resonates so much with each TV album. Because we know her life and everything she has experienced over the years, we know that so many of her songs are truer than ever. We know that she was continuously mocked and undervalued, and she kept telling the truth and kept fighting for a genuine artistic expression. And now she’s doing better than she ever was. We too have been mocked and have felt personally the sting of patriarchy dismissing our stories and emotions as illegitimate. When we hear those older songs being sung in today’s voice, we believe it can all be worth it in our lives as well. We can keep telling the truth and keep hoping in the midst of disparagement and heartbreak. We can keep moving mountains and fighting dragons because we do it together. That’s why we’ll keep having the time of our lives…with her. 

Heather’s Top Ten Movies of 2022

/ Heather Strong Moore / Leave a comment

I’ve appreciated how many movie critics this year are pointing out that art is subjective when sharing their top tens. My list may or may not be all the “best” movies of the year, but they are all movies that I thought were well made, well written, and poignant. Something Hollywood studios ALWAYS struggle to understand is that there’s no replacement for a good script and story that’s sincere. Those are my main criteria, and all of these picks check those boxes.

10. Black Panther: Wakanda Forever

I’ve lost an older brother, which I think is part of what made Wakanda Forever so resonant. The fact that Ryan Coogler had to completely rewrite the movie, and Letitia Wright had to carry the film in a totally different way, and the rest of the cast had to step up in the midst of their own grief just made this an extra feat of storytelling. This was a powerful exploration of the ways different people process grief differently, the ways losses can compound, and the ways we are required to expand in order to fill gaps left by loved ones. The Marvel-required elements might have been a little clunky, but everything that was core to the story of Wakanda and Talokan worked beautifully. If this is your first time realizing that Wright can act, check out her terrific performance in Mangrove on Amazon Prime. Coming to Disney+ January 20th

9. Hidden Letters

Maybe it’s recency bias but when I watched this documentary a few days ago I was completely blown away. It’s an astounding story about female rebellion and undercover subversion. For centuries in China when women were continuously oppressed and silenced and prevented from receiving education, women created their own secret language called Nushu. They wrote letters, poems and songs to connect with one another in the only ways they could. This is a story about Chinese women and it’s also a universal story about oppression and creative resistance. I’m just saying that if we can learn to speak Elvish and Klingon, Nushu is overdue for its place in the sun. Currently available on demand.

8. Cha Cha Real Smooth

In an age where toxic masculinity is proliferating online at alarming rates, I appreciate any content that can normalize young men living with empathy and being emotionally present with the people around them. And Cooper Raiff is a young filmmaker who is charting an encouraging way forward for men in cinema. This is a warm-hearted coming of age story about the time of life when you’ve graduated from college but you still have no idea what you’re doing. It’s about confusion, aimlessness, trying to figure out what you’re good at, getting too attached, working out shifting family dynamics, and getting a real job. With a great supporting performance from Dakota Johnson, you should definitely slide to the…Apple+ app and give it a watch.

7. Descendant

As much as we’ve been in a golden age of documentaries, I’ve still seen some snoozers this year. Which makes Descendant a real stand-out. I had heard some initial news stories about the search for the Clotilda, the last vessel to carry enslaved people to America, but even with a little bit of background knowledge my jaw was on the floor for most of this doc. The story is absolutely bonkers in its hubris and deceit, and still all too relevant. This is a must watch for all Americans as we seek to understand ourselves through our history. Available on Netflix.

6. Turning Red

I am normally such a curmudgeon about animated films of any kind (I am after all not a child) but Turning Red was charming and hilarious. I too was a tween obsessed with boy bands (mine was Hanson) who was overwhelmed and confused by adolescence. Red empathetically understands the experience of girls, the process of both differentiating from and identifying with our mothers, the importance of female friendships, and the stranglehold pop music can have on youth culture. Just give Nobody Like U one listen and it will be never not be on your mind. Available on Disney+

5. Prey

I’ve never seen a Predator movie, but after a quick summary of the Predator’s specs from Ivan, I was ready to jump in. And this movie absolutely slaps. It was such a creative framework for the traditional elements of the franchise applied in a fresh way to a totally different environment and protagonist. The Predator only attacks that which it sees as a threat, which makes a young Native girl a deadly opponent to underestimate. This movie had terrific action sequences as well as a great storyline and character development, a rare combination.  If you’re on the hunt for a well-constructed action movie that’s thought-provoking and exhilarating, set your sites on Prey. Available on Hulu

4. She Said

In lesser hands this journalist true crime retelling could have centered abuse and an abuser. But in the capable hands of director Maria Schrader,  She Said centers the lives and determination of the survivors and those who fought to tell their stories. It is a remarkable achievement to leave a film about one of Hollywood’s most predatory abusers and have an overwhelming feeling of power and hope. They pull no punches about the reality of the systemic victimization, and yet the strength and courage of countless women is the heart of this story. I walked out of the theater feeling like women can do anything, and I hope you’ll give yourself the chance to experience this inspiring story. Currently available on demand.

3. Everything, Everywhere, All At Once

Listen, I’m always skeptical of hype-beast movies that everyone says changed their lives and did something cinema has never done before and you’ve never seen anything like it, blah blah blah. So I was skeptical of Everything to say the least. But the creativity, insight and emotion could not be denied. Beyond the obvious artistry required for building a multiverse, what really made this movie stand apart was the timely exploration of the pull towards nihilism so pervasive in young people today. With unprecedented amounts of information and experiences available at all times comes a sense of overwhelming meaninglessness and despondency. And Everything considers what it can look like for older generations to join and journey with our youth in their search for meaning and significance, and in so doing to answer those questions for ourselves as well. Plus it’s a heart wrenchingly accurate depiction of parent/child relationships and humanity’s cosmic search for love and affirmation from family. This movie will not be for everyone, the absurdist sexual content may be a dealbreaker for some. But if you can hang in there, Everything is a wild ride through existentialism and the search for meaning. Currently available on demand.

2. Marcel the Shell with Shoes On

As mentioned previously, animated films activate my inner curmudgeon. But Marcel took my heart by storm. Somehow this movie is both melancholic and hopeful, bringing to life what it means to experience profound loss while still remaining emotionally present to the world around you. Filled with delicate observations, wistful exploration and sly humor, Marcel had me laughing and crying. After multiple years as a society of experiencing collective loss and disappointment, Marcel invites us to keep our hearts open and to never stop pursuing meaningful connection. Currently available on demand.

1. Aftersun

For the first 30 minutes I wasn’t sure where this movie was going, it’s a subtle and slow burn. But by the time the credits rolled I was in tears. This is fundamentally a story about growing up with an unstable parent and in adulthood looking back and piecing together your memories and retrospective meaning-making. With terrific lead performances and a structure that relives the story through the eyes of an 11 year old, this was the most singular and poignant film of the year for me. It has stuck with me and I continue to think about it months later. A powerful debut from first time filmmaker Charlotte Wells, it was also produced by Barry Jenkins and makes an interesting companion piece to his Moonlight. Currently available on demand.

Honorable mentions: These all made a strong impression on me and are worth your time!

Breaking – Unfortunately this movie didn’t get any attention beyond its premiere at Sundance, but it features a compelling true story and a mesmerizing performance from John Boyega. It draws crucial attention to the struggles of military veterans and the damaging disarray endemic to the VA. Highly recommend. Currently available on demand.

The Swimmers – The only reason this didn’t make my top ten is that it felt overlong at times and would have benefited from a tighter run time. But this true story of young female Syrian refugees who were also professional swimmers was compelling and important. It very much immerses you in the experience of a refugee in this time period and is an engaging and important watch. Available on Netflix.

Nope – Jordan Peele always comes through with something creative and thought-provoking. Maybe a little too obtuse but overall I’m always excited about writers/directors taking big swings and creating brand new material. Currently streaming on Peacock.

Bodies, Bodies, Bodies – A Gen Z horror/suspense movie that doesn’t feel mocking but is able to be fun, unpredictable and sincere. Currently available on demand.

Glass Onion – I liked this one significantly better than Knives Out. Taut, witty, insightful. A fantastic screenplay backed up by an unstoppable ensemble cast. Available on Netflix.

Tar – Objectively one of the best movies of the year with top two best performances of the year. I didn’t personally resonate with it as much as others which is why it’s not higher for me, but it’s a great film. Currently available on demand.

Weird: The Weird Al Yankovic Story – I am the target audience for this movie. A parody biopic about biopics about Weird Al, it is hilariously meta and self-aware. There were scenes in the first act that made me laugh out loud, and Daniel Radcliffe fully commits from start to finish. The third act is messy and goes off the rails, but overall turning the story of a notoriously kind and well-behaved polka satirist into a stereotypical rock and roll biopic deserves a watch. Available for free on Roku.

RRR – This movie is absolutely bonkers and implausible in all the best ways. A 3 hour epic about the fictional meeting and friendship between two real life Indian revolutionaries is historical fan fiction at its best. Be ready to suspend your disbelief and enjoy the ride. Available on Netflix.

Ivan’s Top Ten Movies of 2022

/ Ivan Strong Moore / Leave a comment

Why do we try to make these lists? There are so many options and so many different kinds of movies for different seasons and moods. You may want the quiet contemplation of a Marcel the Shell with Shoes On or After Yang. It might be the right night to come of age with Turning Red. Right now Netflix can offer you several choices that could help you expand your tastes like the new Tollywood classic RRR, the incredible true story of The Swimmers, or the gripping American documentary Descendant. Over on Prime Video, you could be inspired by Thirteen Lives or challenged by Emergency. Even Apple+ has something to offer like festival favorite Cha Cha Real Smooth. 

The options are endless. So in a year filled with a lot of fun movies, let those serve as some honorable mentions and what follows to be my top ten favorite films of 2022 and where to find them!

10. Bodies Bodies Bodies

There were a lot of really fun and interesting horror movies this year. While entries like the newest Scream and Barbarian threatened to make my list, I just couldn’t escape the truly hilarious Bodies Bodies Bodies. “B” cubed follows a group of young adults stranded in a mansion during a hurricane and, when members of the party start dying off, an IRL version of the spooky group game begins. Already, Bodies is being celebrated as a Gen Z classic. Like any young generation, Z has received a lot of flack whether it is fair or not and I’m sure we’re only getting started with exaggerated depictions of it’s population. So did Halina Reijn totally nail this current generation? I don’t know, but she did craft a fun, interesting slasher that was absolutely giving thrills. No cap. 

Bodies Bodies Bodies is rated R for violence, bloody images, drug use, sexual references and pervasive language and is currently available on demand. 

9. She Said

The violence had been there. The survivors had been there. What was different this time, then? How did the stories that ignited the #MeToo movement finally break through? Belief and hard work. Jodi Kantor, one of the reporters depicted in the film, said on the tour for the book that the film is based, that she wanted to show that “facts really can have social impact when they are carefully gathered.” That careful gathering is the story of She Said and is more proof that there must be space for women to tell their own stories. Maria Schrader and Rebecca Lenkiewicz’s adaptation of Kantor and Twohey’s book is heartbreaking, real, and suspenseful. Carey Mulligan and Zoe Kazan are great as Twohey and Kantor, but the film also boasts emotional, show-stopping performances from Ashley Judd playing herself and Jennifer Ehle and Samantha Morton as key sources to the story. We all know by now that the story needed to be told, but it is good, with this film, to also know what was needed to that it could be. 

She Said is rated R for language and descriptions of sexual assault and is currently available on demand.

8. Chip N’ Dale: Rescue Rangers

Disney has been headed in some concerning directions in the last decade. The studio that used to be one of the centers of creativity in the world have been moving towards captalizing on existing properties and squeezing every last drop of good will out of long-time fans. I can’t imagine, then, that anyone was really excited for a live-action version of their long-dormant gumshoes Chip N’ Dale: Rescue Rangers. Cut to Andy Samberg as Dale sitting at a convention booth across from Ugly Sonic the Hedgehog and we are in business. Chip N’ Dale just might be the funniest movie of the year. It was just the right amounts of absurd and meta and, more than Doctor Strange, also had me convinced Disney is ready to bring Reed Richards to the big screen for real. I’m happy to eat crow on this one, but not whale…I promise. I’d never do that.

Chip N’ Dale: Rescue Rangers is rated PG for mild action and rude/suggestive humor and is currently streaming on Disney+.

7. Prey

The Predator was dead. He was finally defeated, not by a mud-covered Arnold Schwarzenegger in the jungle or Danny Glover in the midst of a dystopian 1997 Los Angeles but, by a very strange box office and critical flop. While I didn’t think Shane Black’s The Predator was as bad as many, it was obvious the world needed a break from the galaxy’s greatest hunter. Or so we thought! Enter director Dan Trachtenberg and his unique vision of bringing the Predator back in time to a barely settled America to tussle with the Comanche Nation. There was a sincerity and quality to Prey that has surprised experts who had, just a few years earlier, called for the Predator to be retired. Trachtenberg breathed life into this franchise just as he had with Cloverfield and created the next great action heroine in Amber Midthunder’s Naru. Now we wait to see where and when the Predator might pop up next. The hunt is definitely back on!

Prey is rated R for strong bloody violence and is currently streaming on Hulu. 

6. Everything Everywhere All at Once

The promise of a glimpse of a multiverse has kept a very troubled The Flash movie on the release schedule and propelled the Doctor Strange sequel to $1 billion dollar gross. Little did these studios and audiences know that the best depiction of alternate universes was going to come from the writing/directing team known as The Daniels, indie film juggernaut A24, and a once-in-a-career role for the legend Michelle Yeoh. The only thing that kept this potential Best Picture winner lower on my list are times when I felt the film was working against itself, but when it is at its best, EEAAO has some of the best storytelling of the year. Of course, after so many things in our world have felt like they’ve gone wrong or gotten worse in the last few years, we’d like to imagine a world where at least one or two things could be different. The Daniels delivered that concept in such a touching, weird, and thoughtful way while giving their cast a chance to shine like never before. It was everything. 

Everything Everywhere All at Once is rated R for some violence, sexual material, and language and is currently available on demand.

5. Nope

When the trailers dropped for Jordan Peele’s newest sci-fi horror film, Nope, it featured lots of scary teases of aliens and abductions. There was a promise that we would see and be terrifed of extraterrestrials. That is what I was expecting, Peele’s take on aliens. By far the scariest moments in Nope, however, have absolutely nothing to do with the horses and aliens we saw in the trailers. The Get Out and Us director has delivered again. He expertly unsettles and entertains while exposing elements of our society worth exploring. In Nope, that is our obsession with spectacle and the exploitation that often follows such a pre-occupation. If you’d like more of an explainer, all I would say is…nope. This is something you should experience and unpack for yourself!

Nope is rated R for language throughout and some violence/bloody images and is currently streaming on Peacock.

4. Tár

Tár has a not so secret weapon. This movie is an over two and half hour, slow burn character piece exploring power dynamics in the business of classical music conducting. Sounds thrilling, right? Well it is if you have Cate Blanchett in your pocket! In Tár, Blanchett turns in perhaps the single best acting performance of the year, a performance so good many believed her fincitional maestra Lydia Tár to be a real person. She’s not, but Blanchett is very much the real deal. She crafts a character you are immediately entranced by, you get why the music world bows to her baton, and then bit by bit you get why those in her sphere would despise her. The power Tár exercises in the early acts of the film becomes more and more of an illusion as the story marches on. Power is a topic that manages to be both timely and timeless, and Blanchett’s performance does the same.

Tár is rated R for some language and brief nudity and is currently available on demand.

3. Glass Onion: A Knives Out Mystery

Who doesn’t love a “Whodunnit”? In a world filled with true crime and living room slueths, one filmmaker has breathed incredible new life into the genre. Dubbed by some disgruntled Star Wars fans as “Ruin” Johnson, the only thing writer/director Rian Johnson has managed to ruin is my enjoyment of most other mysteries of the last few years. Try as he may, Kenneth Branagh’s Poirot could never compete with Chris Evans in a cable knit. Glass Onion, is, of course, the sequel to Johnson’s surprise hit Knives Out and continues the legacy of Daniel Craig’s southern detective Benoit Blanc. This time around Johnson takes on the trendy world of marketplace disruptors and influencers. Glass Onion is clever, suspenseful, and filled with well-placed cameos that are deployed in a way that adds to the film rather than distracts. Johnson has created quite the playground for Blanc to peel back the layers of this mystery and, much like it’s bloomin’ counterparts, had me wanting to go back for more and more. 

Glass Onion is rated PG-13 for strong language, some violence, sexual material and drug content and is currently streaming on Netflix.

2. The Batman

Before this year, I would have said we really do not need another Batman. DC Studios have saturated the market with Gothams, Titans, bat people, birds of prey, and Jokers. However, many people may have said the same thing about the Planet of the Apes films. Now I am convinced that Matt Reeves’s full-time job should be following Tim Burton through franchises and fixing them. Yes, we’ve had a lot of Batmen and this movie is probably too long, but Reeves’s grungy, young detective bats, Zodiac killer Riddler, and hammy Penguin had me hooked for the entire bat-ride. I really hope as DC restructures under James Gunn, the studio continues to let Reeves do whatever he wants in this new Bat-iverse. His take on Condiment King could change the hierarchy of power in the DC cinematic universe. 

The Batman is rated PG-13 for strong violent and disturbing content, drug content, strong language, and some suggestive material and is currently streaming on HBO Max.

1. Aftersun

There were so many massive movies this year. From big ensemble casts to bloated runtimes to climbing budgets, we even spent time this year reflecting on the massive talent of the larger-than-life, Nicholas Cage. Several entries this year left me saying, “Wow, that movie was a lot.” This is probably why my favorite movie of the year is one of the smallest. Charlotte Wells’s debut feature is a focused film that digs deep into her relationship with her father and includes two of my favorite performances of the year from young scene-stealer Frankie Corio and up-and-coming Irish shy boy Paul Mescal. Wells invites the audience into a vulnerable moment in her life that we all go through when our guardians, seemingly overnight, transition from myth into reality and our personal identity begins to form. Wells’s authenticity and openness pay off as Aftersun packs more of a wallop than many others did with three hours and $100 million.

Aftersun is rated R for some language and brief sexual material and is currently available on demand.

REVIEW: Don’t Make Me Go

/ Ivan Strong Moore / Leave a comment

John Cho is one of the most versatile actors in Hollywood. In a career that has spanned the likes of Harold & Kumar Go to White Castle and Star Trek (2009), he has proven he’s got the chops to fit in just about any project. This, of course, was highlighted in the 2016 viral social media hashtag campaign #StarringJohnCho which advocated for more Asian-American representation in films and media. Comedies, legendary franchises, big-budget Manga adaptations, contained thrillers, you name it Cho can do it. We shouldn’t be surprised that he shines in his next project, the deeply emotional family dramedy Don’t Make Me Go, a story that is absolutely made for our time.

JOHN CHO stars in DON’T MAKE ME GO Photo: GEOFFREY SHORT © AMAZON CONTENT SERVICES LLC

No, Don’t Make Me Go, isn’t about the COVID-19 pandemic, but it does explore the existential territory of life and mortality that has been on the forefront of our minds as we continue into this global crisis. How much control do we have in our lives? Would you be prepared if catastrophe struck your family right now? Have you been living up to your passions, desires, and callings? This makes Don’t Make Me Go a timely story, but the decision not to include COVID makes it a timeless one.

Cho plays Max, a single father who, early in the film, receives a fatal health diagnosis. To ensure he has the chance to make a few more lasting memories with his daughter and begin to get his affairs in order, the two begin a journey for Max’s daughter, Wally, to meet her mother. This is a great time to sing the praises of newcomer Mia Isaac who plays Wally and steals most of the movie from the veteran Cho.

MIA ISAAC stars in DON’T MAKE ME GO Photo: GEOFFREY SHORT © AMAZON CONTENT SERVICES LLC

Here the classic movie trope of the road trip is used to perfection to explore the film’s larger questions about life. Max and Wally have very different goals for the trip and often exchange control of the reigns. There are lots of hiccups, twists, and turns as they go. These are characters, like all of us in the time of the Great Resignation, wondering where they are going, who’s driving, and will they ever really get there? However, as the story plays out, you just know that this moment in Max and Wally’s lives will be a turning point.

If you have reached such a turning point in your own life, as many of us have during the pandemic, you know that they usually only follow seasons of great trial and frustration. That is true of this story. Not much goes as planned on this road trip. Really, it’s the next installment in a lineage including A Goofy Movie and Little Miss Sunshine. Ultimately, Don’t Make Me Go is about what we do when things just don’t work out. How do we respond when we catch a terrible draw. Will we keep living and pursuing our passions or curl up like a potato bug and just survive?

MIA ISAAC and JOHN CHO on the set of DON’T MAKE ME GO Photo: TAMAR MÜNCH © AMAZON CONTENT SERVICES LLC

Sometimes there actually is a logic to loss. In a fallen world, a world that has fallen from God’s original creation, a world that was supposed to be free of death, decay, and shame but is now shaken by them, loss is inevitable. It is interesting, then, that this story doesn’t spend the bulk of its runtime wondering why death is coming, but rather how will this family respond to the reality of loss. It is easy to spend our lives waiting for the other shoe to drop, but that time and energy could be spent with the people you love doing the things that give you life.

Don’t Make Me Go is just as interested in living as it is in dying. It might not be the most comforting movie. Some of the scenes, like those involving an accidental trip to a nude beach, are designed specifically to find the comedy in being uncomfortable. But there can be comfort in accepting what you cannot change, recognizing the fallen state of the world, finding gratitude in the blessings of God, and living somewhat in spite of loss. It can be the hardest thing in the world to keep going, but, with the right people and the right inspiration, it is possible.

Don’t Make Me Go is Rated R and will be available on Amazon Prime on July 15th.

We should not use “Redeeming Love” to teach Hosea

/ Heather Strong Moore / Leave a comment

Somehow I missed the “Redeeming Love” bandwagon, which is remarkable considering I grew up reading Christian romance novels and attended a Christian college. So I should start by saying that I’ve always heard wonderful things about the novel, I know many women who have been deeply moved and blessed by the book. At this point I have not read the book or seen the recent movie, but I did a deep dive into Twitter and YouTube reactions and reviews/summaries, and listened to an interview with author Francine Rivers. So I want to start by readily admitting that my knowledge of the book is secondhand. However, I have an extensive knowledge of the book of Hosea and the prophets in general and I was shocked to learn that the storyline of the book varies so significantly from the Biblical text that it’s based upon. While Hosea contains elements of a love story, the book is fundamentally a call to repentance for a sinful nation. I don’t want to rob anyone if they have been blessed by the novel. I think we should also be clear about the ways that Hosea differs and the potential harmful impact these differences could have.

Hosea is not about surviving abuse

Hosea is a prophet and the role of the prophets was to deliver God’s Word to the people of Israel. This could come in the form of sermons; it could also come in the form of acting out metaphors to illustrate the realities of Israel’s covenant disobedience. (I have a piece about the prophets using performance art as commanded by God here.) The point of these dramatic embodiments was to make spiritual truths a visceral reality. Hosea is commanded by God to marry a promiscuous woman to symbolize Israel’s idolatry and spiritual infidelity to God. The woman Hosea marries, Gomer, is not described as a survivor of sexual violence or exploitation. It is actually crucial to God’s teaching that she is a woman who chooses to be promiscuous because that is what Israel was doing. The entire reason that God is confronting Israel is because He has given them everything and they are so consumed by greed and selfishness that they can’t even recognize God’s hand in their lives (Hos. 2:5-9).  They are not reacting to trauma, they are motivated by their own sin.

Trauma is not the same as willful rebellion

This is an extremely important distinction because Gomer/Israel’s motivations are core to God’s indictment. It is my understanding that the book contains both deep trauma for “Angel” and periods of purposeful waywardness in her storyline. That makes sense for a trauma survivor, but that is not what Israel was experiencing. Israel was in a period of wealth and comfort which was leading to a disregard for the poor and a belief that they didn’t need God. It was their comfort, affluence and pride that was their downfall, not suffering or insecurity. Israel knew what is right, “she” knew God’s commands and God’s invitation to righteousness that leads to flourishing for their whole society. But Israel was convinced they could worship God on the side while pursuing other gods and security from other nations rather than the Lord (6:1-6, 7:11-12). They were spiritually cheating on God even though He had been fully faithful to them. This makes the contrast of God’s love and mercy so powerful. God is not taking pity on and rescuing a traumatized victim. Israel had slapped God in the face with her disobedience for centuries and yet God was willing to stay and take her back. It is much easier to forgive someone who is acting out in pain and fear, to forgive choices that are not necessarily a personal attack. It is quite another thing to forgive someone who deliberately wounds and humiliates us. If we portray Gomer as a trauma survivor, we end up diminishing the depth of God’s patience and compassion in the face of our repeated rejection.

God is not harsh and judgmental towards survivors of abuse

If Gomer and the metaphor for Israel was about someone acting out in response to profound trauma, that would make God extremely harsh and unfair. The language God uses in Hosea is both intense righteous anger and judgment. These reactions are in response to the violence and exploitation and inequity the Israelites have brought into the land. (And Hosea contains an assurance of love and mercy if the people will turn from their disobedience.) Hosea contains elements of a powerful love story, but it is fundamentally a call to repentance from a path of disobedience. If God was expressing that level of indictment and punishment towards a person and a nation that had been deeply and unfairly wounded, that would put God in the place of a yet another abuser. When we confuse trauma with rebellion, we unintentionally imply that victims need to repent over the situations they are in. We must be clear that God is not further punishing the suffering but is calling the oppressors to repentance and renewal (10:13).

Christian men are not Hosea, we are all Gomer

A frustrating consequence of turning Biblical stories into romantic fiction is that it often creates a dynamic where men take the place of God in relationships with women. It’s true that Hosea is representing God in his marriage to Gomer, but that is about God’s relationship to the community of faith, not about marriage in general. I think a lot of women have walked away from reading/watching Redeeming Love feeling wistful for the day that they’ll meet a man who will overlook all their sins and shortcomings and love them unconditionally. That’s a good thing to desire. The main problem is it creates a power dynamic where Christian men are held up as pure and merciful and women as untrustworthy and weak. This allows stereotypes of women as vixens and temptresses, or alternately sad damaged girls in need of rescue, to propagate. While also allowing men to see themselves as the God figure rather than rightly identifying with Gomer and the unfaithful woman. Israel was intended to read Hosea’s prophesy and see themselves, both men and women, as the promiscuous wife. That would likely have been confrontational for men at the time but an effective reminder to everyone what covenant faithfulness means to God. None of us are the hero when we read Hosea, we are all meant to see our need for God’s repentance and forgiveness. When we reduce Hosea to a human love story, men can escape that narrative while women remain defined by it.

The Bible cares about the abuse of women and children

Hosea is about covenant disobedience and the call to repent in response to the assurance of God’s mercy. While Hosea is not specifically about healing from sexual abuse/misuse, the Bible deals with those topics in plenty of other places. In 2 Kings 4:1-7 the prophet Elisha performs a miracle so a widow won’t need to sell her sons into slavery. This act of providing for them demonstrates God’s care for women who are without resources and God’s desire to protect children from exploitation. We see Jesus protecting the woman caught in adultery (John 8:1-11) and speaking life to the woman at the well (John 4). Both are women who needed healing from sexual exploitation and pasts they regretted. These are experiences and realities that God cares very much about, and Jesus draws near to women who feel wounded in these areas. The Bible is wide enough that we can find many passages to help us engage themes of repentance and unconditional love, and healing from trauma and regret.

The Church needs to talk about these topics more often and more effectively

It is clear that Redeeming Love struck an important chord in the Church. As we think critically about this particular book’s use of scripture, we should not dismiss the meaningful ways it has ministered to women and girls. The Church has been woefully inadequate in addressing the abuse of women and children and has offered very few tools for understanding sexuality and healing from sexual trauma. As I was scanning Christian media for conversations about the movie, it was incredibly telling that the main concerns I saw raised were about the married adult sex scenes with no qualms about the depictions of child abuse and rape. That silence speaks volumes about our current unwillingness to have open and honest conversations about the state of sexuality and safety in the Church. Ultimately, Redeeming Love is not the problem and does not need to be vilified or dismissed. It may not be an accurate depiction of the book of Hosea. But it does offer a call to the Church to recognize the needs of women in our midst and to provide robust Biblical guidance for the issues we are navigating.

Everything You Should Know About Director Chloe Zhao Before Watching Eternals

/ Heather Strong Moore / Leave a comment

Early reviews of Marvel’s next release, Eternals, are starting to be posted and so far they are mixed (due at least in part to “review bombing“). Most reviewers are loving it, some are reporting feeling bored or uninvested in the film. I have not seen it yet, but I have been a fan of its director for the last few years. I would wager that when people aren’t resonating with this entry in her catalogue of work it may be because they had no idea what to expect from her style of storytelling. Zhao is hardly a blockbuster type and based on her previous work it is likely that Eternals will have a significantly different vibe from other Marvel movies. So in order to help Marvel fans get the most out of the film, here are some things you should know about Zhao before seeing Eternals.

Who is Chloe Zhao?

Zhao is a Chinese female writer/director/producer. She spent her early years in Beijing and then from high school onwards has lived in the US. She is a person who has experienced multiple cultures and perspectives and has a wide range of personal experiences. She directed 3 feature films prior to coming onboard with Marvel, and her most recent film, Nomadland, won Best Picture and made her the first woman of color to win Best Director. She had already signed on to direct Eternals well before these accolades, but they have been an added boost to her artist profile and directing credibility. This also makes her Marvel’s first Oscar winning director in this category (Waititi won a screenwriting Oscar for JoJo Rabbit after Thor: Ragnarok, and Coogler has a producing nomination for Best Picture for Judas and the Black Messiah post-Black Panther, but Zhao is the only director and Best Picture winner)

She loves naturalist performances

Zhao has often worked with untrained actors. Her 2017 film The Rider featured a cast of completely amateur actors and tells the semi-autobiographical story of its lead, Brady Jandreau, a young Native rodeo rider who suffers a traumatic brain injury after being thrown from a horse and must contend with who he is outside of riding. The supporting cast are Jandreau’s real life family and friends. Similarly, there are only a few trained actors in Nomadland and the majority of the cast are actual nomads and van-dwellers. Frances MacDormand won the Oscar for Best Actress for her performance, an entirely unique form of acting that required her primarily to have largely unscripted conversations with the untrained cast members while herself remaining in character. The result is warm and authentic performances that at times reveal a lack of polish but also highlight the humanity of the films’ subjects.

(Zhao and MacDormand on set)

While Eternals is much more star-driven, it is her reputation for artistry and representation that enticed multiple cast members of Eternals to sign on to the project. Stars like Salma Hayek who might have been overlooked in the past, and Jolie who did not previously share an artistic vision with Marvel, accepted their roles because they wanted to work with Zhao. We are accustomed to seeing young actors with a specific kind of attractiveness giving conventional performances helming Marvel stories. It could be a refreshing change of pace to see a much wider representation in this cast, artists that likely would not otherwise appear in this genre.

She raises questions about identity, memory and belonging

I highly recommend that you seek out Nomadland, it’s streaming on Hulu. If you do, you should know it’s a slow burn. Because Zhao creates such a naturalistic setting, at times it can feel like nothing in particular is happening. But that is also how real life feels. Many seemingly ordinary moments that build into an extraordinary moment of insight or understanding. The final scene of Nomadland crystalizes the entire film, pulling you into a deeper awareness of what it means to belong and how memory is kept. As mentioned above, The Rider also explores themes of identity and purpose, especially in response to loss. Her films feel very existential, rooting you in the experience of a unique individual which ultimately reveals to the viewer a universal theme that we all wrestle with. Getting to the payoff may require some patience and stillness, but it will be a worthwhile opportunity for introspection.

Her visual style is stunning

The pace of Zhao’s films may feel slow at times, but you always have something beautiful to look at! Part of her approach to rooting people in their stories is to highlight their surroundings and to draw out the beauty in what they are experiencing. All her films are visually stunning with sweeping landscapes and tranquil transitions. She has consistently worked with the same cinematographer, Joshua James Richards (although he did not work on Eternals). They have a rich artistic partnership that creates layers of storytelling both in the dialogue and direction as well as the visual context of the characters. It is not just what the characters do but where they are and what they see that shapes our understanding of them.

What we might expect from Eternals

While I obviously can’t say for sure, I would anticipate that Eternals will have a much more contemplative and existential vibe than most Marvel movies. Be ready for a slower pace and moments of naturalistic stillness in addition to the usual action sequences. Be attentive to ways that the setting and environments interplay with what the characters are experiencing. The story will likely be driven by at least some of the questions that are usually embedded in a Zhao film, so pay attention to themes and reflections. My guess is that the narrative will center heavily on the cosmic implications of “The snap” and what it means to be both powerful and limited. Be willing to sit with and reflect on what took place in the previous Marvel phase and how that has shaped the characters in this moment before we charge deeper into Phase IV. Keep yourself focused all the way until the end and remember that nothing will be wasted. Potentially the stylistic differences will feel boring to you at times because they might not be what we are used to. But let Zhao put her unique lens on the genre and stay present for what she wants to say. Some of our favorite films in the fandom have come from other auteurs (notably Waititi and Coogler). These filmmakers have a strong track record of pushing superhero films into new territory and expanding our understanding of what the genre can be. Give Zhao the benefit of an open mind and the flexibility to allow her to take us to new places.

REVIEW: Mass

/ Ivan Strong Moore / Leave a comment

There is a moment in the musical sensation Hamilton that has always made me laugh. During the song, “It’s Quiet Uptown,” which is one of the more profound moments in the play, as we are coming to realize that Hamilton and Eliza are reconciling, the chorus chimes in, “FORGIVENESS.”  It is the lack of subtly in this lyric that cracks me up. In this quiet moment that converges these two central characters’ arcs, it is as if the choir turns to us to exclaim, “DO YOU GET IT? SHE IS FORGIVING HIM.” I wish forgiveness was so easy. I wish I could go to those who I’ve wronged and those who have wronged me and just sing, “FORGIVENESS,” and it would happen. The truth is, however, that in the human life few things are more difficult. That is what makes the new movie Mass so stunning. Just like that climactic tune in Hamilton, it captures forgiveness in the face of the unimaginable.

Mass, from actor turned first-time writer/director Fran Kranz, tells the story of two sets of parents meeting in a side room of a small rural church. The story that intersected the lives of these four people is one that is far too common in our society. The son of Linda and Richard acted as a gunman in a school shooting that took the life of the son of Gail and Jay. Now six years later they are coming together to find closure, to answer questions, and heal from the pain they all carry. There is only one salve that can heal this wound. It’s something Gail says in confidence to Jay she’s not sure if she can offer. Of course, it’s forgiveness.

Ann Down and Reed Birney in Mass (2021, Bleeker Street)

It would be very easy for Mass to become an issue film. It could have made sweeping political statements about any number of hot button topics our world is facing. Certainly, those themes are present in their own way insomuch that they are mentioned quickly without resolution and then shelved. Richard and Jay briefly debate gun legislation. The group touches on how the media and legal system tossed them around and hurt them. Kranz work in telling this story, though, is keeping it focused not on a laundry list of external issues, but the issues in these parents’ hearts that prevent them from healing and moving on. Even how they get in this room in the first place could have been a distraction but that’s not the question Kranz is asking. He is more asking what if they did get in this room and were able to share their feelings. What could happen? In that regard it is a tight and focused film that allows the audience to focus on the performances and the deeper subject matter of repentance, humility, and forgiveness.

Mass, at times, feels like a stage play, and I’m not sure you could ask for better players. Apart from Jason Isaacs aka Lucius Malfoy for Harry Potter fans, none of these actors are traditionally leading women and men, but they all get moments to absolutely shine. The story sees each of them organically taking turns stepping to the plate to move the emotional depth forward. Martha Plimpton who is most known for her roles in sitcoms like Raising Hope and character actor Reed Birney really were able to go to some surprising places, but the clean-up hitter had to be Ann Dowd. The Handmaid’s Tale alum just kept hitting and hitting every time she stepped into the batter’s box. These characters all felt so authentic down to the well-meaning church employee who was tasked with setting up the room. She wasn’t there as window dressing. While she was setting up the space, she was creating the atmosphere for the entire film. Her anxiousness becomes our anxiousness.

Jason Isaacs, Martha Plimpton, and Breeda Wool in Mass (2021, Bleeker Street)

Breeda Wool plays Judy and her small role struck me right to the heart. Having worked in churches for a while now I have known a bunch of Judys. In fact, I have been a Judy. She wants to believe in this level of reconciliation because that is who we hope God to be. Forgiveness is perhaps God’s greatest power, and when we offer it to our fellow human, we do get a chance to understand God in a new way. You can feel that Judy is hoping if she makes the room comfortable enough, if she gets the right refreshments, if the table is in the right location in the room, she is helping that effort to understand the character of God better. She is helping reconciliation happen.

That is what Christian hospitality looks like doesn’t it? We set up services, we offer resources, we put people in place so that if anyone were to need it, we’re there. I cheered for Judy in one moment when an overwhelmed Jay seeks out the bottles of water she provided and downs it in an instant. The space that Judy built is important and how it is staged throughout the film was masterful. It would be easy in a bottle movie like this to want the actors to move around and use the whole space, or at least overact to try and fill it with their presence. That’s not what happens. Kranz uses the space to supplement the story. It subtly evolves throughout the conversation. They begin in a very oppositional formation and, by the end, are in very different positions.

There is something so wonderfully human about Mass and the way its story is told. It was so engrossing to watch these very real people wrestle through their biggest doubts about themselves, their effectiveness as parents/people, the love they have for their children, and some of their deepest pain. I found myself so wrapped up in the performances I often got tunnel vision forgetting completely that I was watching a movie all together. The tunnel vision might have also been an optical illusion through the tears that were shed throughout. Forgiveness, can you imagine? Mass just might make it a little easier to.

Mass (2021, Bleeker Street)

REVIEW: Nine Days

/ Ivan Strong Moore / Leave a comment

How long would you think it would take to determine whether a person deserves to live or not? According to writer/director Edson Oda, it could be done in about Nine Days. In this feature length directorial debut, Oda creates a world between worlds where potential people are evaluated on their ability to participate well in this thing called life. It’s a smaller film that asks some pretty big questions about what makes life worth living and how, in a fallen world, even the best of us get torn down. It’s also about the teeny tiny moments and elements that make life what it is and how we can appreciate them more.

Winston Duke and Bill Skarsgard in Nine Days (2021)

Leading these evaluations is Will, played with a still, stern resolve by Black Panther’s Winston Duke. In this universe, the evaluators have a select number of lives to watch over, and, when one expires, it is their job to find a replacement. The film begins with Will’s favorite life meeting an unceremonious end. He had thought maybe he has perfected the selection process, but now he’s not so sure. In comes a rogue gallery of trendy and familiar actors, all who bring a lot of their best to the roles.

Fighting to live are the likes of It’s Bill Skarsgard, Veep’s Tony Hale, and Atlanta’s Zazie Beetz. Helping Will in this task is a fellow in-betweener, Kyo, played by Doctor Strange’s Benedict Wong. It’s worth highlighting all of these players because it is in this cast that the film shines. Nine Days very much plays like a character-driven stage production. This same cast could easily bring some Shakespeare fare to life. With Oda’s material they all get to exhibit vulnerability, conceit, and whimsy as they wrestle with the prospect of living or, in most cases, not.

Nine Days writer and director Edson Oda.

If the premise sounds slightly akin to Disney/Pixar’s Soul, you’d be right, but it also feels at times like a weird combination of Charlie Kauffman surrealism and a James Wan horror/thriller. Will is an imposing, enigmatic figure that might drive some mad with how little he reveals to the candidates. It isn’t just a test for the would-be humans, it’s also a test for us. You may like certain characters more, but are they better suited for the real world than others? If Will’s past selections haven’t panned out, what does it really take to survive in our fallen world? If you were in this godlike position, could you make the choice of who lives and who drifts into nothingness?

One of the most brilliant touches in this slower, methodical film comes when the burden of these questions becomes too heavy. This happens periodically throughout the rhythm of the film. As the candidates are being evaluated and the stress and mysteries of life are piling up, the movie slows down and switches gears into delight and whimsy. One of the main exercises in this contest is to choose aspects or moments of life that the candidates find most appealing. When they then are eliminated, Will and Kyo try their best with very few resources to deliver that moment to those moving on. It gives each candidate (and us) a chance to savor these snapshots of living before we dive back into the nitty gritty of what happens in the world outside of those moments.

Nine Days is a movie about a world before living but it’s really about life itself. It’s about this cast of characters being evaluated as a potential human life but it’s actually an opportunity for us to evaluate our own. It’s a good occasion to wonder just why each one of us individually were created. Why were we chosen to experience this world and the life in it? Oda’s kind of morality play isn’t so much about what we achieve in life, but more about the smaller moments that make up a life. The memories that bring flashes of joy. The decisions we make that cause ripples in our lives and the lives of others. If someone asked you what you appreciate about life, what would you say? Would you even have an answer right now? After watch Nine Days, you just might.

Nine Days is available on VOD right now.

REVIEW: The Mitchells vs. The Machines

/ Ivan Strong Moore / Leave a comment

The Millennial and Gen Z generations do not trust you. That is what basically every poll conducted in the last five years has indicated. Forbes reports that the one of the most recent Deloitte Millennial Surveys indicated an over 20% drop in the trust these generations have in businesses and corporations. A recent Harvard Institute of Politics poll showed that the majority of the people in these generations are fearful about the future of our country. Barna found in 2019 that 82% of young adults say society is in a leadership crisis. Our next generations have lost trust with nearly every institution and system we have to offer and, yes, that includes the institution of family and, more specifically, our parents. Looking at these numbers it’s hard not to feel the weight of this trust gap between younger and older generations. That is what made Netflix’s The Mitchells vs. The Machines such a welcome comfort.

Mitchells is largely about what family looks like in our modern context, but central to this story is the strained relationship between Rick Mitchell, a well-meaning but old fashioned and stubborn father, and his daughter Katie who challenges nearly every expectation Rick has had for his children. It is difficult to really define when the rift between Rick and Katie begins or why it’s happening. There isn’t a big traumatic family experience that splits them or, as many of us have experienced, some kind of deeply rooted ideological difference that is causing division. They are simply operating with the values systems and expectations of their respective generations. They just don’t get each other. Somewhere they stopped operating on the same, Rihanna-fueled wavelength and they stopped trusting each other.

The Mitchells vs. The Machines GIF Family

Now, Katie is headed off to the college for the first time, but before she goes the tension between her and her dad bubbles all the way to the surface and pops. For this tight-knit, loving family, this feels like the apocalypse. Lucky for them, an actual apocalypse steps in and takes the Mitchells on an adventure that just might bridge the generational gap. While taking Katie to film school, the inevitable artificial intelligence uprising happens and the newest gadgets from a pseudo-Apple tech company starts capturing every human being on the planet to eradicate the human race. What a great time to bond as a family!

The Mitchells vs. The Machines comes to us from the producing team of Phil Lord and Chris Miller who have been changing the game in animation since their surprising hit The Lego Movie and their Academy Award winning Spider-Man: Into the Spider-Verse. Both of those high-profile releases carried quite a bit of public skepticism going into them. Many thought The Lego Movie was going to be nothing more than an extended commercial for the brand. Sony’s film studio had been fumbling their big Marvel Comics property for years with a string of failed franchise-starting Spider-Man projects and were muddying the waters with an animated movie when it seemed like they were finally on track with a successful new Spidey in Tom Holland. Lord and Miller crushed those fears, though, and gave us two of the most compelling and heartfelt animated movies in recent memory. Mitchells is no different.

The Mitchells vs. The Machines GIF Katie

In terms of family entertainment, the big streamers haven’t exactly been churning out high-quality fare. They know parents will look for any brightly colored animated distraction to keep their child’s attention for any period of time. The Mitchells vs. The Machines is far from a mere distraction, though. It truly has something to say and shows that streamers can develop creative and thrilling animation on whatever budget is available. With Mitchells, there is the 3D animation we expect these days, but it’s used with thrilling expertise providing some really stunning sequences like a mall being torn apart by an army of Furbies. In, perhaps, an extension of the lessons learned on Spider-Verse, they combine that 3D animation with Katie’s 2D doodles over the entire story. It deepens her character and gives the movie a unique and fun visual style.

On top of the animation, Mitchells is just plain funny. Most of the jokes do hit especially since they are delivered by the likes of Maya Rudolph, Danny McBride, Olivia Coleman, Beck Bennett, Fred Armisen, and Eric Andre. In between the laughs, though, Mitchells really does do some thoughtful meaning making about that growing generational gap. Neither Katie nor Rick is let off the hook for not trusting the other. The film shows that they both have things to offer, and both have a lot to learn from the other. In that Barna study, one of the top reasons for our young adults seeing a leadership crisis in society is that the older generation aren’t actually allowing them to lead, and there are a lot of areas where our younger generations are ready to lead right now. At the same time, they need experience coupled with the guidance, support, resources, and consistency of our older generations.

It is true that our younger generations don’t trust their elders, but trust is a two-way street. The generational gap continues to grow when we fail to trust in our younger generations as well. Their total lack of loyalty in the systems and institutions we often cling to can feel apocalyptic. Like they just want to burn it all down, but what if we did trust that they are seeing something older generations haven’t. What if even a little bit of trust was extended? Wouldn’t younger generations be more likely to produce at least a little bit of trust in return. We may want to try it before the actual end of the world comes.

The Mitchells vs. The Machines is streaming now on Netflix.

The Mitchells vs. The Machines GIF Furby

Looking for new shows to watch this summer?

/ Heather Strong Moore / Leave a comment

For many of us summer means a change of pace, and a chance to relax and try new things. Our regular shows have wrapped for the season, or we’ve blown through our favorite re-watches for the 8th time, and we need something new to watch on those rainy days or when the temperatures get too hot for outdoor activities. Here are some TV shows currently available on streaming services that you might not have heard of but could find interesting. Nearly all of them are breaking new ground in representation and storytelling, so they are great additions to your current go-to’s. There’s something for everyone on this list!

Rutherford Falls – Peacock

This is a delightful and incisive comedy from Ed Helms and Michael Schur (The Office, Parks and Rec) about a historic town in NY state navigating its colonial and Native history. Not only is this a witty comedy, but it features the largest Native writers room in comedy history, and a Native showrunner and creator, Sierra Teller Ornelas. It’s funny, warm, and thought-provoking!

Content rating: PG for occasional mild sexual innuendo

High On the Hog: How African American Cuisine Transformed America – Netflix

Part cooking show, part African American historical legacy, this show is unique and powerful. Only 4 episodes, chef and food writer Stephen Satterfield explores the culinary roots of Black cooking from Africa to Texas. Part of what makes this show so special is the space it creates for Black people to talk to each other about legacy and identity and belonging. Each episode is full of historical excavation, pride, tenderness and mutuality. I’ve never seen anything quite like it, don’t miss it.

Home Before Dark – Apple+

Do you ever wish all these crime dramas could be mixed with precocious little girl energy? I didn’t know that’s what I needed until I started watching this show. Inspired by a real 9 year-old investigative journalist named Hilde Lysiak, the show creates a wonderful young lead similar to Hilde but with a fictional town and cold case that she has to solve. It’s a wholesome family drama about processing trauma and grief with a local mystery intertwined.

Content rating: G, the first episode contains verbal descriptions of the trans-Atlantic slave trade that will be painful for some

Content rating: PG there is no violence or descriptions of abuse, but the subject matter of a child abduction may be intense for young viewers

Hacks – HBO Max

If you don’t already love Jean Smart, you will after watching this show. Hacks is a thought-provoking comedy about what it means to be a female comedienne and what previous generations had to navigate to pave the way. This first season is still finding its way with working out a few of the characters, but it’s worth a watch!

Content rating: PG-13 for some sexual conversations, no nudity or sex depicted

The Underground Railroad – Amazon Prime

Director Barry Jenkins’ labor of love, this show is based on the novel of the same name. The novel explores the idea of what it would have been like if the underground railroad was a literal railroad underground. It is beautifully filmed and acted, with an intense but powerful portrayal of Black dignity in the face of oppression (a particular strength of Jenkins’ filmmaking). You will likely need to pace yourself and some may want to refrain from watching all together, but if you can handle the intensity of the subject matter, you’ll find a rich and compelling narrative.

Content rating: R for explicit racial violence

Girls5eva – Peacock

This one goes out to all the elder millennials who came up on girl groups and boy bands! Girls5eva is a hilarious and warm comedy about a washed-up girl group from the 2000s who are trying to reconnect with each other and make a comeback. The cast is fantastic, featuring Sarah Bareilles, Renee Elise Goldsberry (Hamilton), Busy Philipps, and other Broadway stars Paula Pell and Ashley Park. These women are so funny and the writing is smart and a snarky revisiting of pop culture in that era.

Content rating: PG for mild sexual innuendo

Shadow and Bone – Netflix

Sometimes you want an elaborate fantasy show but aren’t sure if it’s worth getting to know the lore and characters if the writing will just end up being bad. Shadow and Boneis a fun escape that’s worth the investment. The world is well-crafted, the characters are endearing, the special effects are good, the cast is talented and diverse, the season is well-paced, and we know we’re getting a season 2!

Content rating: PG-13 for some implied sexuality and mild violence. Likely appropriate for teenagers but check the parent’s guide first.

WandaVision – Disney+

A lot of people have been talking about this year’s spate of Marvel TV shows, and for good reason. But a lot of you have told me that you stopped watching WandaVision after the first couple episodes, so this is my apologetic for why you should revisit it. The format of the first several episodes is that of the classic TV sitcom, starting with the style of I Love Lucy and ending with the style of Modern Family. Some found this format confusing and boring, but what you need to know is that WandaVision is fundamentally a show about grief. It is about the desire to disassociate from a painful reality and immerse oneself in a fun and entertaining distraction. About the longing to return to one’s happiest moments shared with your loved one and try to stay there rather than move forward. The style of the first 7 episodes is very purposefully painting a picture of what Wanda is experiencing internally after the trauma of losing Vision, and how she is making sense of it. Don’t expect huge character reveals, there will be no appearances from Dr. Strange or Mephisto, this is a contained and powerful exploration of the grieving process. It features incredible performances from Olson, Bettany, and Hahn, and one of my new favorite quotes: “What is grief if not love persevering?” Give it another watch!