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The Brothers Sun uses pure entertainment to negotiate tension between traditional and unconventional < Back The Brothers Sun uses pure entertainment to negotiate tension between traditional and unconventional Brad Falchuk Tely-Vision, 2024 69 minutes Creator: Brad Falchuk, Amy Wang, and Byron Wu Reading Time: 6 minutes 📷 : Used with permission, Netflix The Brothers Sun East Meets West (0J9CSWYXZD8LTPO8) 00:00 / 06:36 Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2024-01-12 I love this entertaining 8-episode series about a family’s struggle to break free of longstanding cultural and familial constraints. This action-packed series, which combines spoken English and English subtitles, features the Sun family. Big Sun and his early 30-something-year-old son Charles live in Taiwan and run the Jade Dragons segment of the notorious Triads criminal organization. Mother Eileen and her 20-year-old son Bruce have lived a “normal life” in Los Angeles for over 10 years. Apart in mindset and physical distance, the Suns are nonetheless bonded by a secret held by Eileen that gives her family leverage should anything in the Triads organization go awry. Led by Oscar-winner Michelle Yeoh as Eileen Sun, The Brothers Sun mixes drama, humor, and a lot of martial arts to draw us into this story about the tension between traditional and unconventional lifestyles. When Charles, played by Justin Chien, is attacked in his home and Big Sun (Johnny Kou) is shot by the unknown assailant, leaving him in a coma, Charles flies to Los Angeles to protect his estranged kin until it is determined who is out to destroy the Suns. The Brothers Sun has the cinematography and feel of a Quentin Tarantino film to go along with a soundtrack that is broad in genre. Rap, doo wop, guoyue, smooth rock, country, techno club music, and Asian club music combine to give the film a deep texture. But the heavy mix of music takes away from the production. A soundtrack typically functions as the glue that connects the scenes, so the production feels seamless. Here, multiple genres of music disrupt this continuity and, at times, make it unclear how to interpret the presentation. At one point in the story, for example, Charles gets his heart broken. In a subsequent episode, he sings Sheryl Crow’s version of “The First Cut is the Deepest” on a karaoke machine in what comes across as a moment of hilarity. But is this meant to be funny or a dramatic expression of his feelings? Frequently, in the series, there seems to be a disconnect between the music and the event, making it difficult to interpret the work. But then again, maybe the point is to not take ourselves too seriously. The humor in the series draws from its extensive contrasts. Having been raised in the U.S., for example, Bruce, played by Sam Song Li ( Never Have I Ever , Better Call Saul ), has a lighthearted and easygoing personality. Charles, on the other hand, takes on a more stoic demeanor, having been raised with traditional expectations of being the family’s protector and his father’s right hand man. Add Charles and Bruce’s blood relation and the fact that they are becoming reacquainted, we not only laugh, but become invested. In this sense, The Brothers Sun adopts the tactics of the long-running series, Frasier , where Frasier’s upscale lifestyle frequently clashes with his live-in father’s (Martin) working-class simplicity. Moments such as Martin mounting a big screen television on Frasier’s living room wall, Martin’s dog Eddie that cramped Frasier’s style, and the ever-present tattered recliner were all frequent sources of humor throughout the show’s 11 seasons. No one in The Brothers Sun is who they appear to be, and everyone wants to be someone they are not. Charles, a career killer and top member of a major organized crime family, is obsessed with being a pastry chef. Bruce, a pre-med student, wants to do improv, so unbeknownst to his mother, he sneakily takes improv classes at night. Envious that his brother is recognized as brave, Bruce brags to him that he is a “rebel.” Charles responds, “A rebel if [Mom] knows about it. If she doesn’t, just a liar.” Also in the series, everyone wants everyone else to be someone they are not, such as when Charles gives Bruce an ultimatum to be a gangster or not be his brother. Bruce wants his mother to revert to who she was before Charles arrived - a typical mom who works a 9 to 5 and is otherwise home and available. The women in this series are as competent at fighting as the men, with stiff competition even in cross-gender battles. The series has an Asian-diverse cast, with characters from China, Taiwan, and South Korea. For groups that are missing, they are seen in other ways, such as Bruce’s mention of the “Filipino cover band” on his t-shirt. With a film grounded in Asian representations, it can be argued that the broad music genres are meant as an invitation to other groups to enjoy the entertainment experience that The Brothers Sun offers. There are a few exaggerations in The Brothers Sun , which were likely intentionally inserted for comedic purposes. Although this is Charles’ first trip to Los Angeles, for example, he drives himself around town without the help of GPS - as if he is familiar with LA’s geography. Furthermore, in this age of smartphones, Charles uses a flip phone, which is especially hilarious when we consider that Taiwan is the biggest semiconductor chip producer in the world. The Brothers Sun is a fun, fun series, so much so that you might be tempted to binge-watch it. Be forewarned, though, that there are quite a few jokes and quips around weight that could be offensive to some people. Note that this is a cultural issue. What is considered heavy, thin, or even just right varies from culture to culture. Keeping this in mind would be helpful as you hear some of these lines. What we learn from this film is that there are different kinds of strengths and toughness. While Bruce lacks physical prowess, martial arts skills, and suave, he often comes up with helpful ideas. Charles, on the other hand, is brave, strong, and capable, but to no surprise he has a tender side. As overlooked as women often are in most cultures, Eileen is a strategist, a planner who shares what is necessary and only when it is ready for sharing. Sounds like a lot of moms, right? Enjoy! Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Eye Two Times Mouth makes thematic use of light < Back Eye Two Times Mouth makes thematic use of light Cine CANÍBAL, 2023 23 minutes Director/Writer: Lila Avilés Reading Time: 2 minutes 📷 : Licensed from Shutterstock Eye Two Times Mouth Joy (YJQJ3VTNKTOZBWTI) 00:00 / 03:14 Chamomile Family dramas Jasmine Movies and TV shows with heart, positive vibes, and warm messages Reba Chaisson 2023-06-21 Eye Two Times Mouth is an unappealing title for a short film about an early 30-something woman who aspires to become an opera singer. Despite its namesake, Lila Aviles's new short film manages to be quite compelling. Set in Mexico, Luz Suarez, played by Akemi Endo, works at an art gallery, seemingly as a security guard and helping in other areas when needed. A professional opera soprano in real life, Luz, whose name means light, is often depicted alone when she is at work – even when there are people around. She quietly sings during idle periods and at times loses herself practicing operatic dance. The film is shot with dark cinematography, making it difficult at times to appreciate what is transpiring between the characters on the screen. A poignant moment, though, occurs in soft light when Luz spends time with her voice teacher Lucian, played by professional opera tenor Alan Pingarrón. Like the actor, Lucian is blind. Luz articulates her curiosity about how he visualizes color, and he beautifully explains how he interprets color in the context of music dynamics. People with visual disabilities are rarely engaged by colleagues and acquaintances about how they “see” the world and manage their way around it. As Rosemary Mahoney explains in her New York Times article on “Why We Fear the Blind,” people who are blind are “perceived as a people apart.” Indeed, many people are afraid to engage visually impaired persons at all, let alone ask what may be construed as direct or perhaps seemingly offensive questions. In this moment, the film allows the audience to live vicariously through Luz as she bravely asks her friend, teacher, and mentor about his ways of seeing the world when he lacks the ability to see with his eyes. Luz and Lucian’s relatively prolonged discussion on color provides an interesting contrast with the dark cinematography. Avilés’s use of tints and shades for the film also suits its quietness, as there is little dialog, and the focal points are the usually quiet, classical genre segments of the fine arts. The title, Eye Two Times Mouth , relates to facial symmetry - that the mouth is twice the size of one eye. This notion of balance is at the center of the film’s theme. Our understanding about what it means to live in darkness is elucidated through Luz and Lucian’s conversation, as well as Luz’s inability to be seen at her job, to being seen as someone with immense operatic talent. Available on MUBI Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Anatomy of a Scandal emphasizes the difference between facade and reality < Back Anatomy of a Scandal emphasizes the difference between facade and reality 3dot Productions, 2022 45 minutes Creator: David E. Kelley and Melissa James Gibson Reading Time: 5 minutes 📷 : Used with permission, Netflix Anatomy of a Scandal True Crime Investigation (D3SGMJXWKFQOQMKJ) 00:00 / 06:21 Barley Movies and TV shows with a lot of dialog Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Reba Chaisson 2023-07-10 Erving Goffman, a social theorist, coined the concepts “front stage” and “back stage” to convey that we all have a public-facing persona, or front stage, that is very different from our private one, back stage. For those of us who are heavily invested in our career aspirations, particularly as they relate to politics, the stakes are high. In this case, realizing them and gaining influence relies heavily on our front stage appearance. How well we take care of this can be the difference between achieving our goals or remaining a relative unknown. The television series, Anatomy of a Scandal , drives this home, as it centers on a crisis faced by an affluent, political family in Britain. The six-episode story presents Peter Whitehouse, a very handsome, eloquent, and perfectly well-dressed member of the British Parliament accused of raping Olivia Lytton, a colleague in his office with whom he had a long-time affair. While both admit to the affair, it is the context of their last encounter that is in question. Before the story breaks, Peter, played by Rupert Friend ( Homeland , Asteroid City ), rushes home to tell his wife, Sophie, about both the accusation and the affair – in that order. Keenly aware that it would be disruptive to his family, made perfect with his beautiful wife, two kids, and even a housekeeper and dog, Peter uses a political consultant to help control the story. Sophie Whitehouse, Peter’s partner since their time at Oxford University, doesn’t receive the news well, and the cynical political operative in their living room doesn’t help matters any. Peter admits to the affair, but he vehemently denies the rape and the case goes to trial. While not a political thriller, Anatomy of a Scandal is riveting, with some special effects that add suspense to the drama, tempting us to binge watch the series. It also helps that the story is not contained to the courtroom, but moves throughout London, taking us in, out, and around offices, homes, and Westminster Abbey, all of which are nice distractions from the extensive dialog in the series. As an affluent political family, it is important that the Whitehouses, whose name likely stems from the U.S.’s own sex scandal during the Clinton administration, display both the accoutrements and demeanor of their class to maintain appearances. Thus, Sophie attends court with Peter, despite things being less than harmonious at home. In this narrow sense, the series is similar to The Law According to Lidia Poët . While Lidia presents as a member of Italy’s wealthy and influential class, she has no money of her own, despite growing up wealthy. She is even kicked out of her apartment, which forces her to move in with her brother and his family. Despite this, Lidia continues to dress like a member of the elites. In Anatomy of a Scandal , Peter and his family present as unified, and they possess the wealth and influence their presentation suggests. Like Lidia, though, this outward appearance of unity is inconsistent with a core aspect of their private life, the increasing disintegration of the family’s harmony at home. Another focal point of the series is the highly skilled prosecutor, Kate Woodcroft. Played by Michelle Dockery ( Downton Abbey , The Gentlemen ), Kate insists on handling the case herself, and believes, quite vehemently, that Peter is guilty of rape. In the courtroom, she skillfully questions both the accuser and the accused about the most minute details of their affair and the ensuing event. Both provide equally eloquent and impressive testimonies, as respective versions of their sexual encounters and the rape are shown through flashbacks. Nearly every response to every question is upsetting to Sophie, as the intimate acts they describe are familiar to her – at times even overwhelming for her. Complicating the trial is Peter’s long-time connection to the prime minister. A best friend since college, the prime minister stands by Peter, asserting his innocence to the press and suffering political backlash for it. For his part, Peter, with great eloquence, self-control, and even humility, focuses on maintaining appearances so as not to blow up his chances of realizing his political aspiration to succeed his friend as prime minister. After a while, the series begins to feel like a game of Whac-a-Mole as more and more details of Peter’s affair come to light, and he then feels compelled to explain away the events to Sophie, played by Sienna Miller ( American Sniper , The Lost City of Z ). For appearances, she is pressured to be in the courtroom with him, but repeatedly hearing the details of their relationship is excruciatingly painful for her. Each time, Peter eloquently rationalizes what was revealed, essentially conveying that the details are not what they seem and again reasserting his innocence. And each time, Kate ramps up her cross-examination, and grows even more determined to prove his guilt. Peter’s seemingly daily explanations prime his wife to stay in the fight with him, and essentially, mentally prepares her for the next day’s revelations. But between the details, political pressures, the press, and the poignant questions by the prosecutor, Sophie becomes increasingly unable to maintain the facade. Oxford-educated like her husband, Sophie mentally relents and gives in to her instincts, wondering about the man she married and why such an accomplished and skilled prosecutor took on this case. She begins asking some questions of her own, which gradually reveal truths about who people are and what the trial is about. What we learn is that like most situations in life, things are not always as they seem. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Hamdardi presents a story about how to effectively communicate < Back Hamdardi presents a story about how to effectively communicate Taba Productions, 2023 29 minutes Director/Writer: Stefan Fairlamb and Ashley Tabatabai / Ashley Tabatabai Reading Time: 4 minutes 📷 : Used with permission, Ashley Tabatabai Hamdardi Just A Dream (IXCLFGULPVPQ4U18) 00:00 / 04:27 Chamomile Family dramas Dandelion Movies/shows with heavy subjects Chris Chaisson 2023-09-07 Hamdardi uses the backdrop of the controversial 2017 U.S. travel ban for its compelling story. The short film takes us into the tug of war between Ethan Reynolds, a U.S. immigration officer, and his superior, Hank Henson. When two siblings from Iran, 18-year-old Reza and 9-year-old Parvaneh, are detained at the border, Ethan struggles with whether or not to grant them admission into the U.S. to be reunited with their ill father. Hank, Ethan’s rules-oriented boss, exhibits impatience with the siblings due to the language barrier. Rather than seeking to accommodate them, Hank arranges a flight to send them back to their homeland, as he does with multiple other detainees. As Ethan is currently experiencing separation anxiety, being denied visitation rights to his own daughter, he shows more compassion than Hank and teeter-totters between following orders and rebelling. A voice in one of Ethan’s ears is Carol, a bilingual lawyer pressing Ethan to stand up to his boss. In his other ear is Hank, using his by-the-book approach to influence Ethan. Set in early 2017, writer/director Ashley Tabatabai’s enthralling short highlights the conflicting emotions that many immigration officers likely feel. Though Hank is the antagonist of the story, his mindset reflects that of most people in the middle of a chain of command. “I don’t make the rules” is a familiar refrain for anyone who does not have the freedom to make unilateral decisions. Many use the concepts of just doing their job and following orders to shed any guilt that they feel about a task that is inherently immoral or dispassionate. The act of separating families as part of law enforcement most likely does not sit well with everyone who carries out the task, but they do it nonetheless because they have been trained to obey marching orders and question nothing. Ethan, on the other hand, looks at Parvaneh and sees his daughter. He cannot maintain the emotional distance to simply abide by his boss’s wishes. His inability to disassociate is egged on by Carol, and after a game of Tic-Tac-Toe with Parvaneh, he calls the mother of his child and leaves a voicemail begging her to let him see his daughter. Drawing from his own pain, Ethan not only shows more compassion than Hank but also seeks out any path to reuniting Reza and Parvaneh with their parents. What Hamdardi adeptly highlights is how the inability to communicate can generate impatience and mistrust. Once it is clear that Reza does not speak English, Hank’s attitude becomes more and more hostile. While this could simply be written off as xenophobia, it can also be interpreted as Hank attempting to exhibit more control over a situation than he actually has. Rather than bridging the gap in communication, which would take more time and understanding, he resorts to intimidation by raising his voice and speaking sharply, a common tactic of people in positions of authority. For someone like Reza, who does not speak the language and is playing the role of protector for his younger sister, this elicits resentment and a lack of trust. All he knows is that he is being yelled at. Ethan takes a softer tone and makes more direct eye contact, highlighting how Hank’s approach is unnecessary but serves as an additional way to maintain emotional distance. The story of Hamdardi likely still resonates with anyone who follows the news and remembers this time of uncertainty. While it has a much heavier subject matter, the film reminded me of the early 2000s one-location comedy The Terminal . Tom Hanks plays an eastern European traveler stuck in the JFK airport for an extended period of time. He too encounters a language barrier with the employees of the airport, and despite the disconnect, must learn how to coexist and communicate with them until he can be on his way. Both films accentuate the importance of showing patience, making effort and demonstrating compassion with people from other cultures, as well as taking a personal risk to do right by others. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Tardes De Sol. Noches de Agua. (Afternoons of Sun. Nights of Water.) provides a glimpse into the many systems perpetuating violence against vulnerable people. < Back Tardes De Sol. Noches de Agua. (Afternoons of Sun. Nights of Water.) provides a glimpse into the many systems perpetuating violence against vulnerable people. CAY Productora, 2019 20 minutes Director/Writer: VD Menzella Reading Time: 3 minutes 📷 : Used with permission, CAY Productora Tardes De Sol. Noches de Agua A Dark Past (JLBBO78WK8JWZXUT) 00:00 / 03:19 Dandelion Movies/shows with heavy subjects Ginger Thought-provoking movies/shows Chris Chaisson 2022-09-25 Tardes De Sol. Noches de Agua. centers around Lamia, a young woman who is developmentally disabled. She resides in a small Argentinian village under the close supervision of her devoutly Christian mother. Forced to dress conservatively and refrain from any hint of promiscuity, Lamia draws and writes in her diary as an outlet for her fantasies. She creates a character, Sister Rosa, to contrast with the deity that her mother worships and wants her to fear. In her ventures through the village to deliver groceries and her mother’s knitting to neighbors, she develops an infatuation with Rabbit, a local man in the neighborhood who seduces her. After he violently assaults Lamia, she goes into a comatose state, prompting her mother and the village priest to nurse her back to health. This stellar short film highlights several significant social issues, not the least of which are the attempts of men, religious institutions and older generations to suppress women’s sexuality. Despite the close parental supervision, Lamia lives a very lonely and vulnerable existence. Her mother forces her to recite mantras about the evil nature of men, instructs her to conceal her figure at all times, and physically punishes her upon finding out about her crush on Rabbit. Director VD Menzella highlights this suppressive environment through shots of Lamia hiding her diary or avoiding eye contact with the other characters. Rabbit’s disturbing assault illuminates the reality that many people with developmental disabilities become victims of violence, despite the frequent narrative that they are more often perpetrators of it. The motive behind many such assaults stems from the culprit’s belief that they will get away with it, largely because the victim’s credibility is questioned. Lamia’s mother, for instance, believes that she has harmed herself, a theory that the local priest adheres to without much pushback. The skepticism and attempts to control women’s behavior have historically led to torture in the name of religion, be it through execution, exile, or other means. Such institutions do offer support and comfort to community members, giving them direction and hope during tough times. However, they also chastise conduct and thought processes that are different from theirs. As opposed to showing compassion, Lamia’s mother and priest instead ostracize her. T ardes De Sol. Noches de Agua. is reminiscent of feature films such as Boys Don’t Cry and Precious . Lamia, Brandon Teena and Precious are all vulnerable protagonists existing in environments where they are subject to abuse because of their sexuality, gender and skin complexion, either in the household or the larger community. While the films all have different conclusions, they each center around a young character attempting to survive and break free from authoritarian surroundings. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

The Studio provides laughs with its bungling protagonist < Back The Studio provides laughs with its bungling protagonist Lionsgate Television, 2025- 25 minutes Creator: Evan Goldberg Reading Time: 5 minutes 📷 : Used with permission, Christian Niemann https://www.instagram.com/justbychris/ The Studio Groove Station (XLK5J9TJBAVMOYXC) 00:00 / 05:58 https://x.com/justbychris Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2025-06-23 Many comedies center around a person or a friend group who are just regular people. They have a regular job and no real power to speak of, making them relatable to most of the audience. While this works just fine for many comedies, it is refreshing to occasionally see a show revolving around a boss who is out over his skis. Having an authoritative figure who lacks an authoritative presence reminds the audience that often, no one knows what they’re doing in life and everybody is faking it to some degree. This persona also serves as the perfect setup for endless hi-jinks. Such is the case in Seth Rogen’s new Apple + hit The Studio . The inciting incident of The Studio involves its protagonist, Matt Remick (Rogen), realizing a life-long dream as he is promoted to the lead executive. With his new responsibility to green-light projects and approve of spending requests from filmmakers, you would think that he is the most popular man at The Continental Studio; as it turns out, far from it. While Matt gives off a less cold and detached vibe than the stereotypical studio head, his desire to be viewed as an artist leads him to be overbearing. He consistently inserts himself into the filmmaking process rather than simply making decisions and observing at a distance. Thus, many of the actors and directors grow tired of him but consistently suck up to him to get what they want. Matt lacks the self-awareness that his right-hand man Sal (Ike Barinholz, MadTV ) has, leading to many cringeworthy moments throughout the series. Matt often overstays his welcome (if he was ever welcomed) on sets and in trailers, interfering with any progress being made on a project. Even though he cares more than your average executive, he takes his persona as a creator too seriously, and his performance as the studio head suffers. The hilarity of The Studio comes from the fact that despite Matt’s nerdy demeanor, lack of social grace and inability to project any modicum of strength, he still holds an authoritative position. His decisions, sometimes calculated but often impulsive, hold great influence, and even other producers and executives must defer to him. His character could be summed up as “if Michael Scott bought movies instead of selling paper.” The protagonist from The Office , played for many years by Steve Carell, Michael Scott had very endearing qualities but often seemed like too much of a stooge to be in charge. Nonetheless, he was. Not only did his place as the decision-maker bring about a lot of hilarious and cringe-worthy moments, it made him a sympathetic figure. Much of the audience undoubtedly has bosses they do not respect. So protagonists such as Matt and Michael serve as somewhat of a confirmation bias, while also providing us enough emotional distance to laugh at their mistakes—mistakes that are not so funny in our actual workplace. Despite all the comedy deduced from the characters’ ineptitude and faux pas, The Studio ’s appeal also comes from its authenticity. Many of the discussions between the executives and the creatives, and the concerns expressed mid-conversation, feel very true to real life. For instance, Matt obsesses over delivering an unfortunate note to Ron Howard about a scene that needs to be cut from his newest film, as he does not want to give negative feedback. In discussing with his team, he tries to pawn the responsibility off on the head of marketing, Maya Mason (Kathryn Hahn, Tiny Beautiful Things ), who responds by saying no creative would ever take a note from marketing seriously. This moment speaks to how strictly roles and power structures are defined in the entertainment industry. Thus, having reluctant bosses in positions of power creates so many problems that are, in a fictional world, very fun to watch. The style of the shooting involves very long takes as Matt drives around the studio lot, walks through active movie sets, or greets people in the foyer of his office building before leading them upstairs. The takes are accompanied by soft, percussive jazz music, reminiscent of the Best Picture winner Birdman (or the Unexpected Virtue of Ignorance) , starring Michael Keaton. This shooting style leaves audiences stuck with Matt in every uncomfortable moment after there is friction between him and a director or member of his team. When he needs to juggle meetings or quickly convey information, we see how dizzying his job can get and how often he needs to quickly put on a friendly face. These scenes give the audience a hint of empathy for people in positions of power, who may have a very disorienting daily routine. It also reinforces how difficult such a position is to occupy without the appropriate Type A personality. Between its well-written characters, tremendous acting, uncomfortable scenes and gut-busting physical gags, The Studio may very well be the next award-winning comedy to be considered the best on television. Fans of The Office will surely see a hint of Michael Scott’s influence in this Apple + hit and may take to it the same way. The Studio offers countless laughs every episode and reminds us not to take ourselves too seriously. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Liquor Bank displays the complexities of an intervention < Back Liquor Bank displays the complexities of an intervention Mylineal Films, 2025 15 minutes Director/Writer: Marcellus Cox Reading Time: 4 minutes 📷 : Used with permission, Marcellus Cox Liquor Bank Home Inside (NNYG8BRPFBMJVQUR) 00:00 / 04:58 Dandelion Movies/shows with heavy subjects Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2025-04-20 Liquor Bank stars Eddie (Antwone Barnes), a recovering alcoholic who relapses right before his one-year anniversary of sobriety when he loses his job. Eddie’s regression causes him to miss a meeting with his support group. This absence, along with a concerned message from Eddie’s mother, prompts Eddie’s sponsor, Baker (Sean Alexander James), to pay him a visit. By the time Baker heads over, Eddie has already awakened from his drunken stupor and started downing more hard liquor. Baker must not only rip his phone from his hand to get his attention but also take the bottle away and chuck it in the trash. As their back-and-forth continues, Eddie makes it clear that he is not only relapsing but having suicidal thoughts. Baker hears Eddie out but pushes back on much of what he says, including the notion that he needs alcohol to get through the day and sobriety is the worst decision he ever made. Eventually, Baker’s rebuttals get harsher as Eddie grabs a tall boy of Budweiser out of the fridge to continue his descent. He patronizes Baker about making a genuine effort to save him from himself, saying, “I think God knows you tried your best. He’ll reward you with your wings when the time comes.” When Baker won’t leave or acquiesce to Eddie’s self-loathing, Eddie grabs a knife and threatens him. Liquor Bank provides insight into how much of a never-ending battle sobriety can be. For people with and without an addiction, liquor can be a crutch for any unfortunate life event. It quickly becomes a manifestation of loneliness and lack of self-esteem. Eddie gives many of the same rationales that you hear from other addicts, specifically when Baker says he is drinking like a sailor. He chuckles and responds that he is drinking more like a Marine, having witnessed “those crazy f****.” Often, it is easier to justify one’s actions by pointing to someone else’s behavior. The back-and-forth between Eddie and Baker also shows the difficulties of being a sponsor. Baker reveals that he advocated for Eddie to avoid jail time after a DUI arrest, adding to his emotional investment in seeing Eddie beat his addiction. Sometimes, being a sponsor means having to put faith in someone’s discipline and willpower that they have not yet exhibited. When they have a setback, you may have to step into a volatile situation. Baker goes to Eddie’s place having no idea what kind of shape he will be in nor where he will be emotionally.. As with many sponsors, Baker hints at his personal experience with the same doubts and vices that Eddie has, another reason that he cares enough to stay. Though having a knife pulled on you may seem like enough to walk away, it is the type of confrontation many social workers face more often than we might expect. Many films about addiction and alcoholism center around a protagonist who has a high profile and must be high-functioning on some level. Flight , for instance, revolves around an alcoholic pilot. A Star is Born spotlights a very popular musician. A lot of the conflict and drama in these movies is based on the profession that the character resides in, the responsibility that they carry and the pressure they feel. In other movies, the addict or alcoholic is a side character that burdens the protagonist, a sibling or significant other whose unpredictable behavior makes the main character’s life harder. Liquor Bank serves as a reminder that many people suffering from addiction do not necessarily have a high-profile profession or any external stimuli pressuring them to be a high-functioning addict. Often, they have no structure or stabilizing force to keep them honest. Such people suffer from loneliness and low self-esteem, and they need the help of someone who anticipates when they will backslide and then finds a way to intervene. While such a character who self-harms and lashes out at those trying to help may not be endearing, they likely remind us of someone we know and love who we could never turn our back on. Baker’s words and actions toward Eddie serve as a reminder that you can hold someone accountable and still let them know they are loved. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Why do we like crooked cop movies? A Deep Dive into the Appeal of the Cop Subgenre Reba Chaisson 2/23/26 Reading Time: 6 minutes 📸: Used with Permission, Netflix The Rip was released on Netflix in January 2026. Why a box-office worthy movie with stars like Matt Damon and Ben Affleck was released on streaming is a bit perplexing, but we’ll take it. In the 113-minute film, Damon and Affleck lead a small team of cops who stumble upon a large stash of cash when they investigate a tip about a home outside of their jurisdiction. The money stirs temptation and distrust among the teammates. Add to this the curious events that occur in the surrounding neighborhood, The Rip makes for a stimulating and immersive story. So much so that it got us thinking about the appeal of crooked cop movies. You know the ones I’m talking about: The Negotiator , Training Day , Triple 9 , American Gangster , Crash , 16 Blocks , and many, many others. We live in a violent culture here in the U.S., so it should not be surprising that movies with violence, or more specifically, gun violence, have broad appeal. Other than military films, stories most likely to contain gun violence are those centering cops. We can probably even argue that the more corrupt the cop in the story, the more violent the film will be. After all, the officer has already dispensed with the moral code and the police code of conduct. Layering desperation on top of that just increases the likelihood that volatility in the story will increase as well (think L.A. Confidential , The Departed , and Training Day ). Yes, we love these types of movies as evidenced by their critical acclaim and box office success. A Deep Dive into Cop Films To dive deep into the appeal of this subgenre, I composed a random list of fifty cop movies using listicles from Looper , SlashFilm , and CBR . In addition to recording each film’s opening weekend box office numbers from IMDB, I tagged each movie as comedy/buddy (i.e., Beverly Hills Cops , Bad Boys ), good cop (i.e., Heat , Fargo ) or crooked cop story (i.e. Training Day , The Negotiator ) based on its synopsis. The charts reflect what I found. To say the distribution is lopsided is an understatement. Granted my list represents a small, no, infinitesimal sample size, but what if it reflects the distribution of cop-centered films released by studios over the last fifty years? Such lopsided numbers suggest our appetite for crooked cop stories is much bigger than our desires for police comedies and substantially smaller than dramas with straightlaced police officers. Despite our apparent propensity for good cop stories, I have to admit I was disappointed when Vincent, Al Pacino’s character in the movie Heat , captured Neil (Robert De Niro), even though Vincent conducted himself in an ethical and just manner throughout the investigation (well mostly). The Purpose of Cop Films Films are ideological apparatuses. The stories and images are not just there to entertain but also to impart lessons and inform our perspective. For instance, while good cop stories comprise the majority of cop films despite bringing up the rear in average weekend box office earnings, they encourage us to think positively about police officers and their intentions. Vincent in Heat was determined to catch murderers and thieves. Samuel Gerard, Tommy Lee Jones’s character in The Fugitive , was committed to bringing in Dr. Kimble to face justice regardless of the good doctor’s claims of innocence. Earning the highest of the three categories in average weekend box office earnings, comedy/buddy cop stories have varying themes and levels of drama, but their purpose is to make us laugh and have fun. The Hard Way , Beverly Hills Cop , and Hot Fuzz were all crafted primarily to make us laugh and leave us light on our feet as we walked out of the theaters. What is the function of crooked cop stories, though? Owning a healthy slice of the subgenre's pie, these movies earn more on average than good cop stories during opening weekend. Perhaps the difference is not statistically significant, but the raw numbers are what they are. Allure of Crooked Cop Movies During the Cup of Tea Critiques podcast on this topic, Terry asserts that the allure of crooked cop movies is in the humanity of the corrupt cop. The officer’s backstory exposes inner conflicts and reveals the motivations for their behavior, helping us, the audience, understand what drives them to boldly violate law enforcement’s code of ethics. Backstory, then, is crucial for helping us appreciate the complexity of the person beyond their identity as a police officer. But let’s use Training Day as an example of this. Training Day is arguably the most popular corrupt cop movie released in the modern era. Denzel Washington won the Best Actor Oscar for his role as Alonzo, a corrupt Los Angeles police detective. In the movie, he is depicted with a young son and in scenes hinting at intimate moments with his girlfriend. Beyond this, we get no glimpses into his origin story—family and experiences that might explain the drivers of his corrupt behavior. Lacking this backstory, the audience is left with the view of Alonzo as devoid of humanity and thus an unsympathetic individual. He is what even Denzel Washington described as “ the worst kind of cop .” The character itself relies on Alonzo’s inhumanity . The same can be said about the bad officers in all the aforementioned corrupt cop films. For instance, I know nothing about Anthony Mackie’s character in Triple 9 and even less about Josh Brolin’s character in American Gangster , and this is by design in the presentation of the stories. I must concede, however, that there are degrees of corruption. All the bad cops in these films are sold to us on the basis of their inhumanity, but they vary in how far they stray beyond the line of ethics. Conclusion Brandon suggests that beyond gawking at the spectacles that are the characters in these films, we carry deep inside of us a secret hope that these corrupt cops are redeemable. Maybe we do this because in real life, we need them to be as close to ethical and just as possible, particularly given the violent culture we live in. Could this be what gets at the deeper allure of crooked cop films? That we want these cops to transform themselves because we need them to help save us from ourselves? And does the abundance of good cop films satisfy this need and give us a sense of comfort? What do you think explains our seemingly insatiable cinematic appetite for crooked cop films? Be sure to check out the Cup of Tea Critiques Podcast “From The Negotiator to The Rip: Where’s the straight line through crooked cop movies?,” wherever you get your podcasts. Appendix Movie Year Category Opening Weekend (millions $) 16 Blocks 2006 Bad Cop 11.9 American Gangster 2005 Bad Cop 43.6 Bad Boys 1995 Comedy/Buddy 15.5 Bad Lieutenant 1992 Bad Cop 0.05 Beverly Hills Cop 1984 Comedy/Buddy 15.2 BlacKkKlansman 2018 Good Cop 10.8 Blade Runner 1982 Good Cop 6.2 Blue Streak 1999 Comedy/Buddy 19.2 Colors 1988 Bad Cop 4.7 Cop Land 1997 Bad Cop 13.5 Crime 101 2026 Good Cop 14.2 Die Hard 1988 Good Cop 0.6 Donnie Brasco 1997 Bad Cop 11.7 End of Watch 2012 Good Cop 13.2 Falling Down 1993 Good Cop 8.7 Fargo 1996 Good Cop 0.7 Gone Baby Gone 2007 Good Cop 2.3 Hard Boiled 1992 Good Cop 0.14 Heat 1995 Good Cop 8.4 Hot Fuzz 2007 Comedy/Buddy 5.8 Infernal Affairs 2002 Bad Cop 5 Inside Man 2006 Good Cop 29 Internal Affairs 1990 Bad Cop 5 L.A. Confidential 1997 Bad Cop 5.2 Lethal Weapon 1987 Comedy/Buddy 6.8 Mad Max 1979 Good Cop 8.8 Manhunter 1986 Good Cop 2.2 Minority Report 2002 Good Cop 35.7 Mystic River 2003 Bad Cop 0.6 No Country for Old Men 2007 Good Cop 1.2 Police Academy 1984 Comedy/Buddy 8.6 Reservoir Dogs 1992 Good Cop 0.1 Robocop 1987 Good Cop 8 Rush Hour 1998 Comedy/Buddy 33 Se7en 1995 Good Cop 13.9 Sicario 1988 Bad Cop 0.4 Silence of the Lambs 1991 Good Cop 13.8 Speed 1994 Good Cop 14.5 Takers 2010 Good Cop 20.5 The Departed 2006 Bad Cop 26.9 The Fugitive 1993 Good Cop 23.8 The Hard Way 1991 Comedy/Buddy 6.3 The Naked Gun: From the Files of Police Squad! 1988 Comedy/Buddy 9.3 The Negotiator 1998 Bad Cop 10.2 The Town 2010 Good Cop 23.8 The Untouchables 1987 Good Cop 10 Traffic 2000 Good Cop 0.2 Training Day 2001 Bad Cop 22.6 Triple 9 2016 Bad Cop 6.1 Witness 1985 Good Cop 4.5 Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Florida Man adds hilarity to parallel and seemingly disconnected plotlines < Back Florida Man adds hilarity to parallel and seemingly disconnected plotlines Aggregate Films, 2023 50 minutes Creator: Donald Todd Reading Time: 6 minutes 📷 : Used with permission, Netflix Florida Man Another Round (TFTXNDKQV3RPRF6U) 00:00 / 07:03 Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Peach Movies and TV shows with a springtime feel or with images of the season Reba Chaisson 2023-05-18 My guitar teacher talks a lot about the importance of gradually building the music during a performance, especially when you are a solo act playing acoustic guitar. Start a song off deliberately, for example, with simple Travis picking, build it to a light strum maybe adding a 4 th to a couple of the main chords, and move into the end with a serious strum that puts all these together and gets people moving – or at least their heads shaking to the rhythm. The new Netflix mini-series, Florida Man , brings this to mind. What is interesting about the 7-episode series is rather than laying out maybe two or three main plots in the first few episodes, it develops several parallel plotlines as the story moves along. While each seems random to some degree, once converged, they fit the characters and existing storylines like a glove. Florida Man stars Edgar Ramirez ( Yes Day , Gold ) as Mike Valentine, a reluctant and unconventional mobster. In contrast to portrayals of gangsters where underlings do as they are told and go about their “business” donned in slacks, polos, and suits, Mike frequently argues with his boss and dresses in jeans and a casual untucked print collared shirt. He also hates Florida, a place where gangsters are rumored to retire, describing it as “[the place] that provided [him] with the opportunity to leave, and [he’s] not going back.” Originally “employed” by his boss’s late father, Mike wants out but Moss Yankov, who now heads the Philadelphia-based “family business,” refuses to let him go. In the absence of an emotional connection with Moss, who is also her fiancée, Delly West becomes close with Mike, as he drives her around town to nightspots and on coffee runs. One morning, Moss awakens to find her gone. She has taken the BMW he gave to her the night before and is heading towards Florida. Moss, played by Emory Cohen ( Lords of Chaos , The OA ), orders Mike to go to Florida to bring her back. Begrudgingly, Mike makes the trip and reunites with his family, which includes his seemingly well-grounded sister, Patsy, played by Otmara Marrero ( Clementine , Yoshua ), who he is very close to, and his father, Sonny, who he is not. At this juncture, the show peels back the layers of Mike’s disdain for Florida, suggesting that something is amiss between him and his father, played by Anthony LaPaglia ( Without a Trace , Halifax: Retribution ). But this is only a teaser, as the source of this tension still has not been revealed. Meanwhile, Deputy Ketcher is a detective on vacation with his family in Florida. He lost his gun somewhere in transit, and he is feeling uncomfortable without one. Frustrated at his difficulties buying a replacement at a firearms store, Deputy Ketcher, played by Clark Gregg ( Agents of S.H.I.E.L.D. , The Avengers ), rants, “This is Florida. The g**damn state is shaped like one. I can’t go to a mailbox without tripping over 3 of ‘em, but God forbid you sell me one.” Desperate, he buys one illegally, adding another seemingly disconnected but hilarious plotline to the story. Upon finding Delly, Mike observes her faking her own death, which makes Florida’s television news. When he confronts her, he learns that she is in pursuit of a large cache of gold, one that Moss talked about incessantly but still believed to be a myth. Mike is hooked both on Delly’s quest and Delly herself, so much so that he lies to Moss about Delly’s fate – adding more layers to the plotline. Moss is so heartbroken, he even holds a repast for Delly at his home in Philadelphia, where Tyrone Davis’s 1970 R&B hit, “Turn Back the Hands of Time,” is heard playing in the background at the all-White gathering. Things become complicated when Delly, played by Abbey Lee ( Mad Max: Fury Road , The Dark Tower ), grows impatient and invites Sonny to help in searching for and recovering the treasure. However, Sonny, who is the retired chief of police in town, turns out to be a bit unsavory and develops his own plans. All of this is occurring while the FBI is investigating a gangland style murder, which they believe was committed by Moss’s crew in Philadelphia. They need Mike and/or Delly’s help to make their case. But they, like Moss, bought the news that Delly is dead, and they cannot seem to locate Mike – whose ex-wife is one of the investigators. To sum, the numerous and parallel plotlines and characters culminate in a fun and entertaining story. Florida Man brings to mind the 1984 film, Against All Odds . Besides a terrific soundtrack by Phil Collins, the movie stars Jeff Bridges as Terry Brogan, an injured and broke former professional football player who owes favors to Jake Wise, a shady nightclub owner played by James Woods. Jessie Wyler is Jake’s girlfriend played by Rachel Ward. When she leaves Jake and heads to South America, Jake forces Terry to go find her and bring her back. Terry finds her and the two fall in love. While the stories are nearly identical, the look, tone, and feel of Against All Odds and Florida Man differ dramatically. The former is heavy and dark with adult themes, violence, and menacing characters. The latter, on the other hand, is colorful and light. While it has adult themes, they are not presented in scary and intimidating ways. Even the violence in Florida Man is tough to take seriously because it is embedded in such hilarity. What I also like about this series is that Mike speaks in a Latino dialect, and his father and sister do not. That this is never highlighted nor explained in the series suggests the filmmakers, and perhaps Edgar Ramirez himself, insisted on bringing his ethnic identity to this role and proving that it can indeed be pulled off for this character. For the first half century of cinema, White actors played people of color using makeup and wigs to modify their appearance to resemble the groups they were portraying, or sadly, present caricatures of some others. No special makeup or dialect is used for Mike Valentine’s character in Florida Man . Ramirez brought his full authentic self to the role. I wonder about the implications of this for actors in portraying characters of different racial and ethnic groups. Does this have the potential to work for or against making more on-screen roles available for people of color? This is something to ponder. But regardless of which side you come down on, Florida Man pulls this off without a hitch. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

I Got This calls into question what it means to be a family < Back I Got This calls into question what it means to be a family Funclub Unlimited, 2018 22 minutes Director/Writer: Erik Bork Reading Time: 3 minutes 📷 : Licensed from Shutterstock I Got This Long Weekend (IB9NFREA1TRJSFJ8) 00:00 / 03:52 Jasmine Movies and TV shows with heart, positive vibes, and warm messages White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Reba Chaisson 2022-12-22 We don’t typically review comedies on the platform. But in thinking about Chris’s wonderful Crumpets article on the purpose of short films, I got to thinking about the breadth of stories told through independent cinema. Compared to mainstream, the range of genres seems narrow (predominantly drama, documentary, and horror). This reality means we need to dig deeper to find nuggets and granules of other works in this segment of the industry. Given the random approach to seeking out more thematic variety, I stumble upon one. I Got This is a comedy short starring Rome Shadanloo ( The Last Shift , Beyond Paradise ) as Jennifer, a reticent mother who comes clean to her partner about the fact that he is not her 3-year-old daughter’s father and she doesn’t know who is. Jack De Sena ( Lego Monkie Kid: Embrace Your Destiny , This Could Be a Podcast ) plays Chris, Jennifer’s self-effacing and dedicated partner who insists that the biological father, nonetheless, has the right to know he has a child. The late 20-something year-old couple sets out to covertly collect biological samples from each of her past encounters for DNA testing. (Despite the humor, one scene in this part of the film should be accompanied by a trigger warning since it is quite graphic.) Except for the courage of such young people, this is not an unusual story. Several past and present daytime television talk shows commodify personal stories like this — about women who are less than forthcoming about their child’s biological father. Billed as entertainment, the shows typically devolve into silliness, rancor, and even physical fights among family members. It was refreshing to see that this film was a quiet story centered only on the two people involved. Instead of family conflict and high-level acrimony, this story is tame and honest as it depicts another, more humorous, way of handling an awkward and emotionally painful situation. The film got me thinking about the notion of family, which is similar to themes in the film, Mr. Church . In our critique, we noted that a family isn’t just limited to shared genes. Along these lines, I couldn’t help but wonder if the answer Jennifer and Chris are looking for really matters. Yes, I know, but hear me out. Often the relationships between children and stepparents are indistinguishable from those between children and their biological parents. Having already stood in the role of dad for three years — which included changing diapers, playing with her in the snow, reading to her before bed, and all the things that parents often do for their children — Chris’s love and affection for his child is highly unlikely to change after learning who the biological father is. Case in point: After breaking the news to Chris and announcing her plans to move, Jennifer adds, “Maybe you can live nearby or come visit regularly. That would be ideal.” Such a statement likely sounds ridiculous to someone who is emotionally attached to the child he has raised since birth. Simultaneously, it conveys the emotionally wrenching prospect of pulling a family apart – blood-related or not. So, what constitutes family, and what does it mean to be a father? One thing for sure, a shared biology is not a necessary condition for either, right? Available on Film Shortage Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

War is Over! shows how bonds can be formed amid desperate situations < Back War is Over! shows how bonds can be formed amid desperate situations ElectroLeague, 2023 11 minutes Director/Writer: Dave Mullins / Dave Mullins and Sean Lennon Reading Time: 4 minutes 📷 : Photo from Pixabay War is Over! Storyteller (ISEAHXTOBZNX3FRV) 00:00 / 04:14 Ginger Thought-provoking movies/shows Mint Movies and TV shows in cold weather and blizzard conditions Chris Chaisson 2024-03-18 I spend a lot of time playing chess online, mostly against one of the many bots that are free to play against. His name is Antonio, and I can’t stand him or his stupid pre-programmed responses. My resentment is built up from having played him dozens (hundreds) of times, and I have reached the conclusion that it is way too easy to start new games and play over and over again. If it took more of a concerted effort, I may appreciate the game and my opponent more. Now pluck me from the comfort of my heated apartment unit and into a more primal setting, and this game may become my only escape. War movies can be dark, grisly and bleak. Despite the critical acclaim many receive (i.e. Platoon , Saving Private Ryan , Braveheart , The Hurt Locker ), they can be a tough second watch, particularly for the squeamish. Nonetheless, the genre consists of some of the most visually stunning works cinema has seen, thanks to creative filmmakers and sizable budgets. The biggest challenge for war movies, one could argue, is instilling their story with a glimmer of hope for the audience to take with them as they file out of the theater. Particularly when based on real-life events, this challenge can prove too much, if embraced at all. Dave Mullins' Oscar-winning short, War is Over! , pulls off this feat by juxtaposing war with a fun board game. This critically acclaimed animated work takes place during World War I, as a pair of soldiers on opposite sides of the battlefield become entrenched in a spirited game of chess. Both have their own board set up and communicate their moves via carrier pigeon. The pigeon takes the messages containing the newest move back and forth across the battlefield, dodging flying projectiles to reach the other side. The catch is that neither soldier really knows who the opponent is, let alone that they are technically an enemy. The game becomes an escape not just for the two, but for the soldiers around them who observe and cheer their comrades on. The fun comes to an end when a general discovers the game and berates his soldiers for taking part instead of focusing on the mission at hand. He knocks the board over and even physically assaults his soldier to teach him a lesson. Forced back into battle, the soldier ends up engaged with his chess opponent in a fight to the death before their carrier pigeon finds them in the middle of the battlefield. Is the realization of their connection enough to stop the violence? While only 11 minutes, War is Over! highlights several unfortunate truths. For instance, in the course of their training, soldiers are often forced to purge any shred of their individuality. This tactic makes it easier for them to dehumanize their enemy and even themselves to a large degree. The display of a soldier playing a game he enjoys and the response from his general show the deliberate attempt to suppress any humanity that may come about during wartime. The fact that the soldier is able to bond unknowingly with someone on the other side shows that there is common ground to be had, even among senseless violence. Aside from any war themes, the biggest takeaway from War is Over! is that limitations create not only bonds but increased levels of passion. Many people might like chess or any other game, but playing via carrier pigeon takes a different level of dedication. In our comfortable, tech-filled lives, many modes of communication have made it too convenient for us to discover what, or who, we care about the most. While our productivity has been boosted, we no longer must give the same effort to maintain relationships or follow through on promises. So the next time you think of a friend or family member you haven’t seen in a while, pull out your feathered quill and parchment and send them a handwritten, bird-delivered hello (kidding). Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back The Source and Impact of Smith's Actions Two Perspectives on "The Slap" Chris and Reba Chaisson 4/3/22 Reading Time: 10 minutes 📸: Licensed from Shutterstock Chris’s Thoughts To catch the unaware up to speed, Chris Rock took to the Oscars stage to present the Academy Award for Best Documentary. However, being the seasoned comedian that he is, Rock threw in a couple of quips, certainly with the encouragement of the producers, before moving on to the presentation. Among those quips was a punch line at the expense of Jada Pinkett Smith, sitting front and center with husband Will. “Jada, love you, G.I. Jane 2, can’t wait to see it.” As Jada has recently shaved her head in response to an alopecia diagnosis and subsequent hair loss (reportedly unbeknownst to Rock), she was not amused and rolled her eyes. Will Smith, sensing her discomfort, then rose, marched toward Rock, and smacked him across the face before returning to his seat and screaming, “Keep my wife’s name out your f— mouth!” Though it may not seem so on the surface, there is nuance to this exchange. Chris Rock poked fun at both Will and Jada when he hosted the Oscars several years ago. Will and Jada have been transparent about the ongoings of their marriage, making them the butt of many jokes online and even amongst colleagues. Lastly, Will himself has admitted to continuously coping with the feelings of inadequacy he developed as a child from not being able to defend his mother from abuse. Another topic to provide context to the incident is how award shows for entertainers are often produced and the resulting tension. Frequently, the committee chooses someone with a comedic background, if not a standup comic themselves, to host. The objective of this booking is to have a recognizable jester poke fun at the regal atmosphere that the committee generates. Having exceedingly rich people gather in fancy garb to exchange pleasantries and take turns congratulating themselves will draw a larger TV audience if someone is there to poke fun at them (you may have heard about the exploits of one Ricky Gervais, for instance). There is an unspoken divide here, as many actors (whether they say it or not) do not take kindly to being mocked. Regardless of their feelings on roast comedy, they want nothing to do with being the butt of any gags on their special night. Beyond all these details exists an even larger talking point, which is the normalized ostracizing of Black women’s hairstyles. In both comedy and society at large, it has become so commonplace to denigrate how Black women dress, speak, respond to situations, and wear their hair that many people do not even recognize these disparaging remarks when they hear them. Thus, Jada’s decision to shave her head was measured and well thought out, knowing what the aftermath would likely be. Chris Rock, being the critical thinker that he is, still chose to take a jab at her. Contrary to popular belief, few people just snap over one comment. The source of the rage and frustration dates back much further in time for most instances. In this case, Will and Jada are a famous couple whose transparency about their marriage and daily lives comes at a time when the most possible people have access to them. In the 80s, 90s or even early 2000s, Chris Rock’s quip may have been a little easier to brush off. Unfortunately, Jada has likely caught so much flack leading up to this awards show from anonymous people that she has never and will never meet. Though it may seem trivial, these insults cut much deeper than we realize to the point that even loving friends and colleagues ribbing you becomes angering and tiresome. What we saw on Jada’s face was not just pain, but fatigue. Reba’s Thoughts During much of its existence, the Oscars has been a politically contested space. Presenters and awardees often use their time on stage to make statements on a broad range of social issues like the environment, geopolitics, human rights, Guantanamo Bay, LGBTQ rights, women’s issues, and race. And nearly since its inception, it has been wrought with controversy, some more well-known than others. In 2019, the Academy’s announcement that awards for Cinematography, Live Action Short, Film Editing, and Makeup and Hairstyling would be presented during commercial breaks created significant social media backlash. While it reversed this decision due to social pressure, the organization received quite the lashing for the absence of women nominees in the Best Director category that same year. Also in that year, the show went without a single host when Kevin Hart resigned after significant criticism for what were labeled as “homophobic jokes” he made in the nascent stages of his career. Indeed, some issues around the Oscars have been quite repugnant. Woody Allen’s award nominations, after news broke about his relationship with his adult stepdaughter in the late 1970s is one example. And Roman Polanski’s nominations after he pled guilty to unlawful sexual intercourse with a minor before fleeing the U.S. to avoid prosecution is probably the most egregious. The industry’s punishment was to expel Polanski from the Academy for life. Like Allen, his work, though, would continue to be recognized, celebrated, and awarded for years to come. Undoubtedly, there is a tension between where the celebration of cultural accomplishments ends and accountability for moral failings and legal troubles begin. Blending the two means canceling people wholesale. In the case of Polanski, I think this is warranted; otherwise, I am simply not down for that. Nonetheless, this seems to be the abyss where Will Smith is headed, given news of his resignation from the Academy and rumblings of various movie deal cancellations. It’s going to be a while before we know the full impact of Smith’s actions at the Oscars on Sunday. Admittedly, on the one hand, I felt some sense of validation as a Black woman – seeing a Black man stand strong for his Black wife. On the other, I felt ashamed and embarrassed even though I personally had no part in it. My feelings stem from the fact that what one Black person does typically gets transferred onto the collective. So, what Smith did affects anyone who looks like me and lives here in the U.S. Whether it was due to pent-up anger from social media comments, or the singular joke made by Chris Rock, Smith’s physical assault of Rock was unwarranted – particularly in plain view. There is simply too much at stake for Black and Brown people still working to gain entry into this space. At a time when we were all but absent at the Oscars, awardees of color and some White presenters showed that they were acutely aware of what was at stake and comported themselves in a manner that recognized this. A proverbial elephant in the room existed at the show in 1939, when Hattie McDaniel was presented with the Best Supporting Actress award. As Fay Bainter, who won the previous year’s award in the same category, makes her presentation speech, the camera pans the audience and homes in on several expectant, White nominees, but never on McDaniel. Bainter stated in part during her presentation, “To me [the award] seems more than just a plaque of gold, it opens the doors of this room, moves back the walls, and enables us to embrace the whole of America.” The White women in the audience seem a bit perplexed. When announced by Bainter as the winner, McDaniel walks to the stage with pride, shoulders back, and gives a brief, pointed speech that concludes “I sincerely hope that I may always be a credit to my race. …” In 1964, Sidney Poitier won the Oscar for Best Actor, where he simply thanked colleagues and the Academy but mentions nothing about race, despite being only the second Black performer to win the award in the Academy’s then 36-year history. Poitier is keenly sensitive to the significance of the win, however, as can be heard in his speech after receiving the Academy’s Honorary Award at the 2002 Oscars. In it, he speaks about the absence of customs for him to follow upon his arrival in Hollywood and how he benefited from a handful of visionaries who made “courageous, unselfish choices.” “Each,” he adds, “with a strong sense of citizenship responsibility to the time in which they lived. …” Eight years later, Sacheen Littlefeather, an Indigenous activist, acknowledged an award on Marlon Brando’s behalf. Dressed in traditional Indigenous garb, Littlefeather rejected Brando’s Best Actor Oscar because of the persistent, dehumanizing depictions and treatment of Indigenous people in Hollywood film. According to the report, John Wayne was offended by the statement and had to be restrained by several men to keep him from going onto the stage and removing Littlefeather during her 60-second, audience-jeered speech. This despite her concluding that “I beg at this time that I have not intruded upon this evening and that we will in the future, our hearts and our understandings will meet with love and generosity.” Years later, in an interview with The Guardian , Littlefeather said, “I didn’t use my fist [she clenches her fist]. I didn’t use swear words. I didn’t raise my voice. But I prayed that my ancestors would help me. ... I went up there with the grace and the beauty and the courage and the humility of my people.” Smith showed no such grace. On the contrary, his blatant assault of Rock likely embarrassed every Black and Brown person who has been striving to get on a stage for decades. His actions marred the event and detracted from the celebrations of the nominees and their work. Coincidentally, Questlove won his first Oscar that night. His Best Documentary win was the first award announced immediately after the incident, when he and his team had to pretend as if nothing had just happened. It is not unusual for Black folks to have to suppress openly acknowledging what is obvious. For decades, people of color have fought to get their stories told on screen and to loosen their identities from unflattering depictions since the advent of film at the beginning of the 20th century. Arguably, significant gains have been made. But as recent as 2016, the absence of acting nominations for Blacks and Hispanics led to the cultivation and trending of #OscarsSoWhite , indicating we are not there yet. With much work to do still, Smith commits an act on an iconic award show streamed across the globe that reinforces and perpetuates the very associations Black and Brown people have been and are still tirelessly working to disrupt. It is too soon to know if and how much of a setback this will be. What we do know is that Smith’s actions at the Oscars are regrettable and will be difficult to detach him– and ourselves from– for years to come. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!