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< Back Amid an alien invasion, a young couple deals with problems faced by people of all ages. Keshet Studios, 2020 94 minutes Director/Writer: Alex Huston Fischer and Eleanor Wilson Reading Time: 3 minutes Save Yourselves! Strange Science (4XOMNUYUFYAMK4BC) 00:00 / 03:39 📷 : Licensed from Shutterstock Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2021-07-25 When you hear “alien apocalypse movie," you typically think of a blockbuster dripping with effects, action, and toxic masculinity. Even if comedies like The World’s End or This is the End come to mind, both are loaded with more crude, slapstick humor. Save Yourselves! instead goes for the heart and slice‑of-life approach, leaving the alien takeover as the backdrop. In reality, the movie is about a couple in their early thirties seeking to shake up their routine by unplugging and going on vacation. Jack (John Reynolds, Stranger Things ) and Su (Sunita Mani, GLOW ) head off to a cabin in the woods for a temporary escape from their lives (No it’s not a limerick.). Their trip coincides with an invasion of homicidal aliens in the shape of large Koosh balls, if I can date myself with a reference. With their retreat now upset, they must flee their getaway home for survival. The film, as you may have guessed, has much more to do with the couple than the situation they find themselves in. Jack and Su are both likeable and relatable; they deal with problems that young people and couples of all ages deal with. Over the course of an hour and a half, the audience hears them bemoan feelings of inadequacy, frustrations with each other’s quirks and flaws, and where they are at their age compared to their parents. Nonetheless, they love each other, and you never sense that their relationship is on the rocks. Perhaps what is refreshing about Save Yourselves! is its ability to address imperfection and insecurity in a real way rather than bury the emotions of its main characters under clichés or gunfights. While our leads could be classified as a coastal hippie couple, Reynolds and Mani possess charisma and great onscreen chemistry. Several times during the film, I nodded my head at the sentiments each of them conveyed. The film subtly expresses two major points: wherever you are in life is okay as long as you keep going, and it never hurts to be honest. Though the timing of their retreat seems ill-fated, Jack and Su are fortunate enough to speak their minds and improve their relationship in ways that could help them survive. As for the invasion itself, please do not tune in just for this. The nature of the invasion or the psychology of the Koosh ball aliens is not at all delved into, and even their behavior is inconsistent. Multiple times, the first aliens that Jack and Su encounter could easily kill them and just don’t. This is never truly explained, so if you are more of the District 9 type, the ambiguity may frustrate you. Nonetheless, Save Yourselves! is a pleasant couples comedy with enough heart to push the common “alien apocalypse” subgenre to the background. Witnessing a young couple work out their issues with honesty and a little technological detachment is a refreshing break from adrenaline-filled blockbusters. 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!

Queen Sono brings a spy thriller from a different part of the world < Back Queen Sono brings a spy thriller from a different part of the world Diprente Films, 2020 43 minutes Creator: Kagiso Lediga and Karabo Lediga Reading Time: 6 minutes 📷 : Used with permission, Netflix Queen Sono Adrenaline Rush (0F2JDLS3MEXST1KL) 00:00 / 07:04 Masala Chai Movies and TV shows about toughness and athletic competition Matcha Mysteries or whodunnits Reba Chaisson 2023-10-30 Cinematic representations of spies are usually of U.S., European, or Israeli descent, predominantly male, and between 40-60 years of age. Think Eric Bana as Avner in Munich , Gary Oldman as George Smiley and John Hurt as Control in Tinker Tailor Soldier Spy , George Clooney as Bob Barnes in Syriana , and Leonardo DiCaprio as Roger Ferris in Body of Lie s . There are a handful of female spies but unlike the subtlety of their male counterparts, they are usually presented as action characters with a lot of sass and pop. Think Helen Mirren as Victoria in Red , Angelina Jolie as Evelyn Salt in Salt , and Charlize Theron as Lorraine Broughton in Atomic Blond . Queen Sono presents an interesting departure from these stories and depictions. First, rather than a film, it is a six-episode Netflix series. Second, the story is set in South Africa and features a little-known Black actress, Pearl Thusi ( Quantico , Catching Feelings ), as Queen Sono, a South African spy who kicks her antagonists’ tails as she gathers intel from countries like Kenya and Zimbabwe. Queen Sono is the daughter of Sofia, a celebrated militant and activist who was killed when “Q” was a child, an event which haunts her to this day. Raised by her scrappy paternal grandmother, Mazet, and supported by Dr. Sidwell Isaacs, intelligence director and close friend of her mother’s, Q joins the government’s security agency (SOG) with aspirations of doing field work. She becomes a part of the South African president’s secret service detail and eventually moves into the country’s intelligence ranks. The story contains parallel plot lines, one of which consists of Q’s private mission to learn who was behind her mother’s assassination and hold them responsible. This operation allows us to see beyond Q’s tough veneer, exposing the deep hurt she masks from the loss of her mother. It makes her actions appear reasonable, as she uses her elusiveness to enter a prison to confront the man accused of the crime, and later takes on a fictitious identity to gain access to a family to casually extract information she needs. The other storyline involves Q’s legitimate job, which is to dismantle an organization headed by eKaterina Gromova. Played by Kate Liquorish ( Still Breathing , Eye in the Sky ), eKaterina is a ruthless corporate leader from Eastern Europe who wants to take over the security and communications infrastructure for all the African governments. While Q has many occasions to show off her fighting skills, she bleeds a few times during her physical confrontations and even loses one of them. Combined, the two storylines make the character a realistic portrayal of a spy – making her human versus automaton-like. One of the things I like about the series is it forces us to distinguish the countries in Africa. Too often, we view Africa as a monolith rather than a continent of 54 nations, each with its own set of languages, customs, cultures, sociopolitical systems, and economic challenges and priorities. In media, women and children in Africa are typically depicted as poverty-stricken, malnourished, and without shelter or living in huts. The preponderance of the images leads us to generalize this reality to all countries on the African continent. In Queen Sono , people live in homes and apartments in urban areas, not huts in rural areas at the edges of towns where movies about Africans tend to be set. And as we see in the series, even countries rife with problems have spectacular views of forestry and waterfalls. But urban areas and landscapes are rarely if ever depicted in Western cinema set in African nations. So, in this sense, Queen Sono is an exception. The scenes across several African countries help us to appreciate the distinct systems, cultures, and even problems of each. Although Black people have been in the U.S. for over 400 years, our past and present experiences continue to shape our sense of belonging in the country that has been our home longer than most Europeans and all people of color, except Indigenous Peoples. It is interesting to see so many patriotic Black people in South Africa who take ownership of it and view it as “[theirs] to protect.” For example, they carry a high level of disdain for President Malunga, the current leader of the country, because of the depths of his corruption and greed. Yet, they still respect him because he is the elected president. This mix of commitments comes through as Q’s aunt, Nana, played by Connie Chiume ( I Dreamed of Africa , Black Panther ) who is well-connected and active in politics, hosts a luncheon for the president at her home. Before carrying a tray out to the patio, she says to her daughter, “It’s not every day we get to host a president. Let’s go and put on a show for that a***h***.” This thread runs throughout the show as we observe “Q’s” commitment to her role at SOG to “keep South Africa safe.” We also see it in her lover, Shandu, played by Vuyo Dabula ( Invictus , Mandela: Long Walk to Freedom ), who is vocal and active in his commitment to freeing Congolese, South Africans, and others on the continent from being exploited by white diamond miners, other outside groups, and the corruption of political leaders like President Malunga. Queen Sono is similar to the 1970s films, Coffy and Foxy Brown , each about a Black woman pursuing vigilante justice. Both films feature Pam Grier as an early 30-something African American woman who seeks revenge for an attack on her sister ( Coffy ) and boyfriend ( Foxy Brown ). The films contain a lot of action for a time when it was rare to see Black women on screen as leads, let alone in such strong and active roles. The Queen Sono character is a modern-day blend of Coffy and Foxy Brown. Each work is even named for the lead characters. It is refreshing to be presented with a strong lead character of color from a part of the world we rarely get to see so broadly and extensively. Queen Sono is a substantive piece about a woman dealing with a personal struggle while fighting publicly sanctioned battles. The presentation passively breaks down our ideas of countries in Africa as similarly impoverished and rife with instability, and of the people who live in them as poor and apathetic. While I understand the pandemic interrupted Netflix’s plans to continue this series beyond the first season, my hope is that the company revisits this decision with the goal of completing the narrative. It is a visually entertaining presentation bolstered by a solid story. 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 Sinners takes vampirism to the Deep South Warner Bros., 2025 137 minutes Director/Writer: Ryan Coogler Reading Time: 7 minutes Sinners Swamp Tale (G9X2F45UL234MNVH) 00:00 / 07:36 📷 : Used with permission, Nuno Sarnadas (www.darkdesign.pt ) Rosemary: Movies and TV shows with intense action Saffron Movies and TV shows with great visual effects Chris Chaisson 2025-05-08 Zombie films seem to have been all the rage the last decade or so. The popularity of The Walking Dead has led us to embrace the post-apocalyptic universe in the entertainment world and question our own survival skills. As I discovered on a trip to the bookstore during Covid, much in the world of fiction, whether in novel or screenplay form, imagines a dystopia as opposed to the contemporary, somewhat functional society. Even stories such as The Handmaid’s Tale , the Hunger Games trilogy, or the Mad Max franchise exist as zombie movie fill-ins, with people acting as blood-thirsty monsters without a conscience just the same. These stories can be thrilling and reveal the character of its survivors amidst their difficult decision-making, but as far as monster movies go, they represent a bleaker reality than, say, vampire movies. Over the holiday season, I went to see Robert Eggers’s rendition of Nosferatu with my father. As we left the theater, he mentioned that though he enjoyed it, he was expecting it to deviate from the original a little more than it did. Having not seen the original, I went into it with very little expectation but enjoyed the traditionalist feel that it presented. My association with vampire movies leaned more in the modern, fast-paced action category, which is to say, Buffy , Blade , and Underworld . The great thing about a fantastical sub-genre like vampire movies is the ability to place it in both real and surreal universes, as most of us are familiar enough with the concept of vampires to buy into them. Ryan Coogler’s new hit, Sinners , takes vampirism to a world we all know but have not seen vampires represented in: Jim Crow in the Deep South. Set in the 1930’s, Sinners kicks off with twin brothers Smoke and Stack (Michael B. Jordan) returning to their home state of Mississippi after spending a few years in Chicago. Happy to be home, they buy an abandoned farmhouse with the plan to run a juke joint and host a grand opening. After closing the deal, they head into town to reunite with their cousin Sammie, a talented musician, and spread the word about their opening. Once the evening falls and everyone shows up for a good time, three strangers arrive with their instruments and Irish folk tunes in hopes of joining the festivities, but something seems off about them. After Smoke and Stack turn them away, Stack’s old flame Mary (Hailee Steinfeld), starts after them to play peacemaker. This gesture proves to be a mistake and sets off a chain of violent supernatural events no one saw coming at the beginning of the night. The brilliance of Sinners is its multi-faceted nature. Rather than immediately jump into vampirism, it sets up a compelling story that can exist independent of its supernatural elements. The first half of the film delves into the pasts and desires of its main characters in relation to music and business. Smoke and Stack have had their fill of the North and have returned to their roots to run a successful establishment. Although they do not necessarily want to revisit their young and immature ways, they need the support of their chums from the past. Sammie has a deep passion for blues guitar and a captivating singing voice, but his father Jedidiah believes his musical exploits to be the work of the devil. Delroy Lindo plays Delta Slim, an alcoholic musician who jumps at the opportunity to participate in Smoke and Stack’s grand opening. He fears that he doesn’t have very many of such experiences left in his future. These various storylines and motivations combine for an enjoyable party scene before the crap hits the fan. In a way, the gathering is reminiscent of teen party comedies such as House Party , Animal House and Project X , but with a more earnest and soulful intention behind it. The characters escape from the pressures of life expectations and the dangers of being Black in the Jim Crow South, even if just for a few hours. While Sinners deviates from other vampire movies in certain respects, it maintains plenty of vampire folklore. For instance, there are a couple of intense standoffs at the entrance to the farmhouse when those who have been infected ask to come in, a request vampires must make before entering. Just the same, the vampires have superhuman strength, become excited by the sight of blood, and perish in the daylight. Maybe most significant to the atmosphere of the movie is their abilities of hypnotism and seduction. The film has its fair share of promiscuity before vampires ever enter the equation, as Smoke, Stack, and Jedidiah all engage in sexual acts in the first half of the movie. But the addition of vampirism to the story only heightens the sexual tension between the characters, many of whom are engaging in either infidelity or miscegenation, an unlawful act during the Jim Crow era. Most impressive about Sinners is its ability to weave in elements of history amidst the fiction and supernaturalism. Frequently throughout U.S. history, prosperous Black communities were viewed as a threat and were ravaged by White out-of-towners, burned down to smoldering remains. Neighborhoods in Rosewood, Tulsa, Harlem and many others suffered this fate. The film hints at these massacres with its imagery in the third act. Additionally, blues music has been subject to cultural appropriation, often being stolen from its founders or repurposed with no attribution. The antagonists in Sinners make the same effort, which Ryan Coogler captures in an opening scene filled with symbolism as Sammie limps back into town with mere shards of his guitar. Moreover, the film alludes to racism that Black people faced when they sought to travel north. Smoke comments early in the film, “Chicago ain’t nothin’ but Mississippi with tall buildings instead of plantations.” This statement alludes to the fact that while the economy in northern cities was more industrial than agrarian, the bigoted mindset and discrimination remained intact. Finally, two of Smoke and Stack’s friends include a Chinese-American couple with their own store in town who join the party. The vampires threaten to raid the store and harm their children, alluding to the threats that many Asian-American immigrants also suffered at the time. All in all, Sinners stays true to much of the folklore surrounding vampires, appealing to fans of the sub-genre itself. However, it strategically places new elements around the vampirism: a predominantly Black cast, the backdrop of 1930s Mississippi, and the infusion of blues music. It blends genres like comedy, action, historical fiction, and even the “teen partying” into the story. The film’s multifaceted nature allows viewers to catch something different when watching a second or third time, while not being too preachy or on-the-nose with the social issues it broaches. The genre blend makes it difficult to provide a comparable film, so I will instead say Sinners is True Blood meets Mississippi Burning with just the right amount of Mo’ Betta Blues . Hopefully, when you check it out, it makes more sense than whatever I just said. 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The Diplomat brings back the reluctant hero trope < Back The Diplomat brings back the reluctant hero trope Netflix Studios, 2023- 50 minutes Creator: Debora Cahn Reading Time: 5 minutes 📷 : Used with permission, Netflix The Diplomat Sliced Bread (FEVQK74RKH2DUPI5) 00:00 / 05:33 Barley Movies and TV shows with a lot of dialog Chris Chaisson 2023-05-24 The age of big-budget, effects-driven media tends to offer us very willing and/or vengeful protagonists. Many superheroes either immediately accept their responsibility to protect the innocent or seek payback for loved ones that have been hurt. Even Spider-man, who at times desires a regular existence, dons his suit to pursue retribution for the murder of Uncle Ben (I would say spoiler alert, but we are about 50 Spider-mans in at this point). While revenge and righteousness are two motives easy to convey to the audience, there has been a decrease in another kind of main character to follow: the reluctant hero. Occasionally, viewers watch a disinterested but capable protagonist get dragged into a situation they want little if anything to do with (think Robin Williams in Man of the Year ). It not only creates curiosity about how they will solve the problem despite the lack of motivation but also adds humor to the story. If you’ve ever been the last to touch your nose or shout “Not it!” you can probably relate to the reluctant hero of the new Netflix political drama, The Diplomat . Keri Russell ( The Americans, Cocaine Bear ) stars as Kate Wyler, an ambassador who is thrust into the middle of a muddy foreign affairs situation after a British aircraft carrier is attacked. The assailant is unknown, though many suspect that Iran is to blame. Kate initially has no interest in playing the mediator, but her presence in Britain is requested by the President of the U.S. and the White House Chief of Staff. Thus, she accepts her assignment and heads to London with her husband Hal (Rufus Sewell, The Man in the High Castle ), also an experienced diplomat. She works closely with Stuart Hayford (Ato Essandoh, Chicago Med ) and CIA operative Eidra Park (Ali Ahn, Raising Dion ) to put out the various mini-fires between government officials, including the British Prime Minister (Rory Kinnear, Penny Dreadful ), that could spark a preeminent but costly reaction. As a character, Kate has the perfect makeup for a reluctant hero. She has too much experience in the world of politics to be intimidated by anyone in the room, regardless of rank. Unlike characters such as Frank from House of Cards , her motive is not to climb the ladder to achieve any particular office or possess any power. The lack of desire for upward mobility, along with the amount of conflict resolution that she has overseen, makes Kate disgruntled with the superfluous aspects of her job. The audience sees this very early and often, specifically when she is asked to wear “ladylike” attire for events and photo shoots. Even when she begrudgingly acquiesces, it is less for the sake of good PR and more to stay on schedule. The biggest contributing factor to Kate’s attitude is not the direction of her career or disdain for the field, but the extremely rocky relationship with her husband. Hal is also highly intelligent, connected and accomplished in the same field as Kate. The gracious approach for him, given the stakes of Kate’s current task, would be to lay low and provide emotional support. Instead, his expertise, along with his exceedingly confident personality, allow him to be meddlesome and dishonest with her. Rather than having the source of tension between them be a secret or tangential to the story, Hal’s overbearing behavior directly impacts the chain of events, making it obvious why he and Kate are having issues. With the context of an interfering spouse, Kate’s reluctant hero persona comes off not only as understandable but relatable. An ordinary day job is tough to be invested in while experiencing marital issues, much less a job requiring you to settle volatile disputes between countries. In addition to being ethnically diverse, The Diplomat displays varying personalities, always a necessity in political dramas since everyone is wearing the exact same clothes (I kid; but really). For instance, the UK Prime Minister is crass and prickly, frequently exhibiting misogynistic behavior towards Kate. Other characters are overly self-aware and are afraid to criticize or shoot straight with her, fearing that they will come off sexist. In spite of her many years in the field, Kate still endures both dismissive and overly sensitive attitudes from other characters. As the episodes pass, she develops a rapport with the others, convincing her advisers to be direct and leaders to be respectful. The show effectively avoids being too on-the-nose with its social critique but clearly hints at what many female government officials likely tolerate on a consistent basis. The 8-episode drama’s dialogue-heavy nature feels most reminiscent of series like The West Wing and Madam Secretary . It is not as melodramatic as Scandal was at times but instead maintains an even-keeled and at times comical tone. For instance, as Kate sits down with a group of government officials in one scene, she has to drag her chair forward loudly and is embarrassed when her aides try to swap the chair out for her. Where The Diplomat differs from the aforementioned shows is that it presents a highly skilled protagonist who is not as emotionally invested as Jed Bartlett, Elizabeth McCord, or Olivia Pope. Kate is instead a reluctant hero, making her biggest antagonist her own lack of enthusiasm. 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< Back The Outfit takes viewers on a rollercoaster of continuous dread and relief Focus Features, 2022 105 minutes Director/Writer: Graham Moore / Graham Moore and Johnathan McClain Reading Time: 3 minutes The Outfit With You Always (NOVN2BQ05DLWR5DD) 00:00 / 03:58 📷 : Pixabay Ginseng: Suspenseful and intense thrillers Matcha: Mysteries or whodunnits Chris Chaisson 2022-04-24 Mysteries rarely come without the presence of some form of law enforcement. Whether a detective, private investigator, or street officer, these stories typically consist of a character that the audience will assume has the skills and experience to bring about justice. However, the occasional story takes an introverted character free of such a profession and centers the story around them. As they are underestimated or dismissed entirely, they figure out how to manipulate the more dynamic characters to reveal the truth. The Outfit is a gangster movie seen through the eyes of a local tailor named Leonard (Mark Rylance, Dunkirk ), who must repeatedly outwit dangerous goons to spare his life. Set in the 1950s, The Outfit chooses Leonard to serve as the rare non-gangster protagonist of a gangster movie. He is an older gentleman who moved to Chicago to escape his secretive past and has settled in at his clothing shop, along with his companion Mable (Zoey Deutch, Zombieland: Double Tap ). There is, nonetheless, a complicating factor to his business: it is controlled by an Irish mob boss named Roy Boyle (Simon Russell, The Death of Stalin ). Making matters worse, Mable has an ongoing romance with Richie (Dylan O’Brien, The Maze Runner ), Roy’s son. Leonard has no choice but to embrace every aspect of his business situation, as the mobsters remain his most loyal customers. One night, enforcer Francis (Johnny Flynn, Emma. ) shows up with a wounded Richie, who was shot during a run-in with the LaFontaine family, a rival mob of Black Frenchmen. After a confrontation between Richie and Francis ends in Richie’s death, Leonard spends the remainder of the night trying to survive the impulsive Francis and Roy while also protecting Mable. The Outfit provides the feel of watching a stage play, as the film takes place almost entirely in Leonard’s shop, consists largely of dialogue and a small cast, and has very sophisticated costume design. The story’s biggest draw is how Leonard stays one step ahead of the mobsters consistently, knowing that any misstep will cost him his life. Despite being older and not appearing intimidating or authoritative, he maintains his poise in the face of danger time and again, using clever fibs and reverse psychology to convince the mobsters that they need him alive. Graham Moore’s directorial debut joins Knives Out and The Gentlemen as recent mystery thrillers executed at a high level. Though a more limited release than the others, The Outfit has received some critical acclaim following its festival appearances and shows the storytelling that can be done with limited resources. Despite Leonard not having the character arc of a typical protagonist, he sticks out as a non-superhero personality that nevertheless has a superpower. While the above movies may be the most apt comparisons, another similar story to The Outfit would be the early 2000s thriller Road to Perdition . Rather than the violence that Tom Hanks’s character, Michael Sullivan, uses to protect his son while on the run, Leonard uses wit and finesse, lacking the ability to flee the scene. The film’s cat-and-mouse dynamic at times could also be reminiscent of other heart-stoppers like Enemy of the State or No Country for Old Men , as you find yourself thinking, “How is he going to get out of this one?” These films all have their strengths and weaknesses but evoke the same emotional highs and lows in their viewers. 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 Dream Scenario examines obsessions with fame and the subconscious A24, 2023 102 minutes Director/Writer: Kristoffer Borgli Reading Time: 6 minutes Dream Scenario Path of Purpose (TRMMUPNBM4ILZX8U) 00:00 / 06:01 📷 : Used with permission, Aleks Phoenix https://www.instagram.com/aleks_phoenix/ https://twitter.com/aleksphoenix Saffron Movies and TV shows with great visual effects White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2023-12-05 A24’s new sci-fi feature Dream Scenario follows Paul (Nicolas Cage), a tenured professor, husband and father who traverses a monotonous existence. His students view him with complete indifference, and to his daughters, he is the uncool dad. Paul’s major objective is to publish a book on his academic research, an idea with which he is very possessive despite not having written a single word. His reality suddenly changes when family, friends, and strangers alike start seeing him in the backdrops of their dreams. Similar to his role in their real lives, Paul serves little purpose in the dreams regardless of how dynamic or perilous they appear. He still plays up his overnight (no pun intended) fame, enticed by the thought of being relevant. He tries to parlay it into a book deal after meeting with a talent agency, who instead steers him in the direction of superficial viral moments. Eventually, the nature of the general public’s dreams about Paul turn dark, rendering him a menace in the dream world and a social pariah in the waking world. The target of much scorn, Paul must figure out how to revive his image. The film begins in the middle of a dream sequence, immediately placing the audience in the universe of Paul’s burgeoning fame. Not only does this keep the audience engaged from start to finish, it mirrors most of our experiences with dreams. We rarely dream lucid, where our fear dissipates because we know we are not awake. Rather, we experience the surreal and wake up in a panic. This scene, and every dream sequence throughout the film, pull the viewer into the movie’s universe. Through Paul’s interactions in the first 30 minutes, we get a sense of his character and his routine as it was without needing any exposition spoon-fed to us. This story choice allows us to spend more time watching the dreams play out, as well as Paul’s various human interactions with the characters who were not previously part of his life. Kristoffer Borgli’s feature gives an original take on the trappings of celebrity. The common perception of the public’s treatment of celebrities is that we build them up only to tear them down. Though the nature of the dreams about Paul are out of everyone’s control, their treatment of him fluctuates along this same sine wave. Paul finds himself being held accountable for actions that he did not commit in the real world, and to compound his issues, he does not have the charisma or public relations team to smooth over his image. Thus, he winds up digging himself into deeper and deeper holes, even alienating his own family. Arguably, Paul’s biggest mistake and tragic flaw is his welcoming of the attention in the first place. Against the warnings of friends and family, he sacrifices his own privacy simply for undeserved fame. Similar to many famous people in the real world, giving away privacy can create mental health issues and tumultuous personal relationships. Though Paul never has control over whether or not people dream about him, embracing his celebrity legitimizes the recurring dreams in the eyes of everyone else. The temptation to do so comes from his dissatisfaction with his mundane life as it previously stood. His feeling of being underappreciated is a growing trend even in the world today, especially as people assess their own value or celebrity by their social media presence. Fewer and fewer people are satisfied with an anonymous lifestyle and embrace attention that is, or could, turn negative. Dream Scenario presents other social commentary as well, most notably the power that many people lend to their dreams. Instead of viewing dreams as random and meaningless, many people interpret them as a call to action. For instance, early in the film, Paul’s ex-girlfriend approaches him to tell him that she has seen him in her dreams and asks him out for coffee in front of his wife. Just the same, an attractive talent manager from the agency he meets with asks him out for drinks in order to get to the bottom of her recurring dreams featuring Paul. Despite his marriage, Paul rejects neither of these advances, paving the way for turmoil later on. Both interactions, however, speak to how often people let dreams guide their behavior and spur them to connect with those that they may have ignored. A subtler theme in Dream Scenario is the disregard for academic prowess. As a professor with a doctorate, Paul’s work receives little to no attention and is not appreciated. His lectures fall on deaf ears until the students start having dreams about him. He finds his most engaging sessions are when he foregoes the class material and simply discusses the students’ dreams with them. Similarly, the talent managers he meets with do not care about his expertise or his goal of writing an educational manuscript whatsoever. They instead discuss commercials, talk shows, podcasts and celebrity meetups to amplify his mystique. Paul very clearly starts to devalue his own work, simply riding the wave of his popularity and begging for sympathy when it runs out. Dream Scenario presents itself as the sci-fi twist on the Oscar-nominated 2022 film, Tår . Lydia Tår allows esteem and celebrity to inflate her ego to a point that she mistreats others. Once the collective opinion of her takes a turn for the worst, the same people who propped her up ostracize her and cast her out. Paul gets put on a pedestal by people who have never met him and he enjoys the positive attention he initially receives. Once he allows it to go to his head, the dreams change and public opinion turns on him quickly. Just as is the case in the real world, both Lydia and Paul become victims of the trappings of celebrity. Each film demonstrates that fame is a kind of power, and those who get a taste scramble to hold onto it while thirsting for more. 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!

Reservation Dogs features Indigenous teens experiencing joys and pains on a reservation in Oklahoma. < Back Reservation Dogs features Indigenous teens experiencing joys and pains on a reservation in Oklahoma. FX Productions, 2021- 30 minutes Creator: Sterlin Harjo and Taika Waititi Reading Time: 3 minutes 📷 : Pixabay Reservation Dogs Groove Station (WBNFSZVDNWGFGUQI) 00:00 / 03:48 Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows Chris Chaisson 2021-10-18 Even as the portrayals of people of color in fictional media have increased in recent years, a frequent criticism still lingers: the stories almost entirely revolve around oppression. Whether it is the civil rights era, gang violence or eminent domain, stories centered around Black, Hispanic and Indigenous groups tend to zero in on pain and suffering. It is certainly important to highlight but not great to fixate on, as it cuts out the full range of existence. Some of the most original content stems from characters of various backgrounds having individual joys and pains. Reservation Dogs is the latest production shooting for this type of storyline. Though just a few episodes in, Taika Waititi’s ( Thor: Ragnarok ) latest creation features a group of four Native Americans teens living on a reservation in Oklahoma. Their goal is to raise enough money to relocate to California together, but to do that, they rob cargo vehicles and sell the supplies. Their long‑term plan comes to a screeching halt due to a group of rival teens trying to intimidate them at every turn. Bear (D'Pharaoh Woon-A-Tai) and his three friends refuse to turn tail and run, so they now must stay and defend their territory. Amid their transgressions, they do their best to evade the town police officer, Big (Zahn McClarnon, Westworld ). Reservation Dogs leans on some of the same comedy stylings of Waititi’s previous project, What We Do in the Shadows . The show uses elements of surrealism, such as during Bear’s daydreams where he receives advice from an ancestor on a horse. It also doesn’t shy away from satire, such as when Bear and his friends are shot with paintball guns by their new rivals and Bear’s mannerisms mimic action scenes from Platoon . Waititi and co-creator Sterlin Harjo shrewdly casted a couple of stand-up comedians in Kirk Fox and Bobby Lee. Both provide deadpan expression and dry delivery as they address the children, with Lee’s recurring gag as the doctor for every medical specialty on the reservation. This gag is indicative of a consistent achievement of the show, which is poking fun at life on the reservation while providing nuggets of truth. Though a slight exaggeration, Bobby Lee’s portrayal of every kind of doctor hints at a reality about the environment, that there may only be one person in town capable of any given task. Reservation Dogs delves even further into the truths in how they portray Bear’s father. Despite not living with Bear and his mother, his father is still on the reservation and able to be reached. Bear goes to him for advice about handling bullies, but he is reluctant to share. The estranged father that is still around can be a sobering plot device, but the show chooses not to dwell on it. As with other elements of the show, this fact is presented as an unfortunate circumstance but not one that defines Bear or any of the other main characters. This half-hour comedy can still go in many directions but presents its audience with a rarely told, easily embraced concept: Indigenous youth simply living their lives. Shows such as Reservation Dogs illustrate that you do not have to be of good means or part of a dominant group in society in order to enjoy life. Waititi manages to weave in cultural elements that may hint at historical oppression without pulling the series out of its genre, giving youngsters a way to see themselves represented onscreen in a blissful, positive light. 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!

Beef illustrates the snowball effect of insecurity and stubbornness < Back Beef illustrates the snowball effect of insecurity and stubbornness A24, 2023- 30 minutes Creator: Lee Sung Jin Reading Time: 5 minutes 📷 : Used with permission, Netflix Beef Heist (BRYFFHN6ZQAN9Q4K) 00:00 / 04:50 Chamomile Family dramas White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chris Chaisson 2023-04-18 “It is selfish for broken people to spread their…brokenness.” Few experiences encapsulate displaced anger as clearly as road rage incidents. Whether they act on it or not, most people see a road rage incident in the news and can recall being that infuriated. I’ve always perceived this anger as being confined to that specific moment. Driving a vehicle is the most dangerous activity most of us ever do, and a close call due to someone’s negligence can bring that to the forefront of our minds. As I get older, I realize that the close call itself is likely the straw that broke the camel’s back. Sometimes, frustration from our personal lives boils over, and we use a stranger who (in theory) we will never see again as the outlet. Cooler heads usually prevail, but every now and then pettiness wins. Danny (Steven Yeun, Blue Bayou ) and Amy (Ali Wong, Big Mouth ) in the new Netflix series Beef show us the catastrophic results of such an instance. Beef ’s inciting incident, a close call in a parking lot, serves as a gravitational pull into a game of one-upmanship for the two protagonists. After unsuccessfully attempting to return supplies to a department store, Danny nearly hits Amy’s SUV as he reverses out of his parking spot. She honks and flips him the bird before heading off. It is clearly the wrong day for Danny, who pursues her for no apparent reason other than sheer frustration. After a dangerous back-and-forth of trying to run each other off the road, they go their separate ways without having caught a glimpse of each other. Unbeknownst to either of them, the incident was caught on tape and goes viral. What ensues is a series of escalating pranks and sabotage attempts between the two that begin to involve loved ones, culminating in darker and darker consequences. Danny and Amy play off each other perfectly, as they do not appear to have anything in common. Amy is a wealthy business owner in Calabasas with her own family, on the precipice of a deal that will make her even richer. Danny is a single, down-on-his-luck contractor taking care of his aimless younger brother Paul (Young Mazino, Fish Bones ). He resents Amy’s financial status, profiling her and going on several tangents about what he assumes her background to be. As it turns out, they both have similar frustrations with how their lives are going. Danny is strapped for cash and cannot seem to impart his wisdom or work ethic onto Paul. Amy feels disconnected from her husband, her plant business and a wealthy potential investor (Maria Bello) that she must continually schmooze to win her over. The repressed anger and depression of both characters fuel their childish pranks and quests for vengeance on one another. After a few episodes, Beef makes it obvious that the back-and-forth between Amy and Danny provides each with a strange catharsis. Even though they are both engaging in juvenile and, at times, criminal behavior, it grants them a departure from what is unsatisfactory about their personal lives. Their petty endeavors are not only selfish but eventually begin to put their loved ones in harm’s way. Neither of them is wise to the repercussions because they have gotten swept up in their own adrenaline rushes. In a way, Danny and Amy have developed a contentious, unorthodox romance. Beef consists of a predominantly Asian cast, with Danny and Amy playing Korean characters while Amy’s husband is Japanese. The series differs from many others in its representations of such characters by allowing them to be individualistic, angry and petty. Often, Asian characters are depicted as docile and adhering to a collectivist mindset. For many decades, Asian-Americans have been referred to as the “model minority,” a back-handed compliment that subtly characterizes them as being subservient. Beef deliberately depicts Danny and Amy as selfish and fueled by an inner rage, showing that diverse representations do not always have to be based around positive attributes. The protagonists are not perfect, endearing or admirable; they’re simply flawed in a way that we are not used to seeing. While not a TV series, the project most similar to Beef from a premise standpoint is the early 2000’s thriller Changing Lanes . Samuel L. Jackson and Ben Affleck play two members of a road rage incident who let a feud develop between them. Though it does not hit on the same class, gender, or race differences as Beef , both involve flawed characters who let petty emotions take them down dark paths. The message in both stories is to always let go of your fleeting road rage before it devolves into a much bigger issue. Or just Uber everywhere (shrug). 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 Saint Omer weaves a deep story that draws in the audience and shifts perspective Srab Films, 2022 122 minutes Director/Writer: Alice Diop / Amrita David, Alice Diop, and Zoé Galeron Reading Time: 5 minutes Saint Omer Redemption (A7X9UHXWTZE3THEC) 00:00 / 06:31 📷 : Licensed from Shutterstock Barley Movies and TV shows with a lot of dialog Dandelion Movies and TV shows with heavy subjects Reba Chaisson 2023-03-28 In 2000, Nicolas Cage played Memphis Raines, a master car thief in the film Gone in 60 Seconds . Incentivized by a big payday, he came out of retirement to steal 50 luxury cars in one night. I recall cheering for his success as he came close to hitting his number, and pondering how the filmmakers were able to manipulate my emotions in this way. How do writers and filmmakers convert the audience from sympathizing with protagonists to cheering for antagonists? There seems to be multiple ways, one of which is through flash for sure, but others are certainly breadth of story and depth of character. Saint Omer certainly fits the latter two. Saint Omer is about a writer and literature professor who covers the courtroom drama of a woman who has pleaded guilty to leaving her 15-month old daughter to drown in the sea. Set in France with nearly the entire film situated in a courtroom, Rama, played by Kayije Kagame ( H24, 24 h de la vie d'une femme , L'invité ), is drawn to the case’s similarity to the Greek mythological story about Medea. Referred to in the film as “The Saint,” the story is about a woman who murders her children as revenge against her husband. Lacking an emotional connection with her mother, Rama carries a deep-seated fear that she too is capable of such an act. I would not think that a film set largely in a formal space and dictated by rule and order could hold my attention for two hours. But the extensive soliloquies and in-depth interviews that make up the overarching foci of the film continually pull me in, arm over arm like tug of war. Unlike the game, I offer no resistance. Laurence Coly’s telling of her story, not through flashbacks but her own words, are compelling enough to make me empathize, even sympathize with her plight. Like everyone in the courtroom gallery, I become deeply immersed in her story to learn why – how she could have done something so unthinkable. In France, even a guilty plea allows for getting answers to these questions, which is in stark contrast to the judicial process in the U.S. When a person pleads guilty in the U.S. court system, it is to avoid an inquiry into the crime and minimize the risk of extensive punishment – in theory anyway. Indeed, the guilty plea is entered and the person who is accused is summarily sentenced by the judge to some pre-negotiated terms. In France, a plea of guilty does not circumvent an extensive court inquiry into the commission of the crime. On the contrary, a detailed examination is performed of the person’s life from birth to present, including family background, schooling, relationships, social life, psychological state, and even current experiences with incarceration. The process is akin to an oral defense of a thesis or dissertation. Instead of professors lobbing questions at the graduate candidate, the judge asks the defendant numerous and detailed questions informed by police reports, psychiatric examinations, and other investigations. In Saint Omer , Laurence, played by Guslagie Malanda ( My Friend Victoria , The Beast ), stands in a designated box throughout the entirety of the proceedings. She responds to each question, even sometimes with a hesitating but eloquent “I don’t know,” essentially putting on her best defense with hopes of mitigating her punishment for the crime. To sum, the French courts aim to gain an appreciation not only for the context of the crime but also the context of Laurence’s life before sentencing her. This is very different from the U.S. system that operates in a way that suggests it cares very little about the circumstances of a crime, let alone the person who committed it – in some cases even if the person committed it. It takes a brilliant piece of writing to convert an observer who initially dismisses a person because of their heinous deeds to one who sympathizes with said antagonist. But something happens when we get to know people — when we get inside the lives of people. Something changes. We come to appreciate that things are much more complex than they seem. We realize that context matters. One of the enjoyable aspects of international films is the view it provides of cultural practices in other countries. France considers context in its efforts to understand criminal cases. It makes me ponder the difference it would make in the complexion of the criminal justice system in the U.S. and the prisons in which they house the people that are convicted. Saint Omer also helps to answer more personal questions concerning Rama’s worries about the kind of mother she can be. And that is: Does coming face to face with those things we fear most help us move forward? Winning the grand jury prize and best debut feature in the Venice Film festival, Saint Omer was the only French film submitted for an Oscars nomination in the international films category. The strength of the feature is not surprising given writer/director Alice Diop’s 15 years as a documentarian presenting stories about the lives of people living on the periphery of French society. As she told The Guardian , “For 15 years, I’ve been making films from the margins, with a political intention of filming those margins – the banlieue, people who have been silenced, because those are the people I come from. That’s my territory, my history.” Saint Omer, which is based on a true story, resonated with Diop’s aesthetic priorities and filmmaking style due to its compelling, eloquent, and deeply personal story. We look forward to seeing more of her work. 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 Thelma prompts us to reconsider our roles in others’ lives Bandwagon, 2024 97 minutes Director/Writer: Josh Margolin Reading Time: 6 minutes Thelma Ante (JASJU1U0XPTXNIPM) 00:00 / 06:12 📷 : Pixabay White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Chamomile: Family dramas Chris Chaisson 2024-07-09 Getting scammed absolutely stinks. Being set back financially is often not even the worst part. The most regrettable aspect of it is feeling both that you are too gullible and maybe even that you lack the necessary survival skills to take care of yourself. If you’re fortunate, you rebound and get a good story out of it. For some people, it may be a breaking point or an opportunity for others to write them off entirely. Regardless, anyone who’s been bamboozled wishes they can recoup their losses, and Josh Margolin’s newest comedy Thelma allows them to live vicariously through a 93-year-old woman doing just that. Played by June Squibb ( Nebraska ), Thelma is a widow in her nineties holding on to her autonomy despite her family’s concerns. She remains very close with her grandson, Daniel (Fred Hechinger, The White Lotus ), who visits her frequently and looks after her. When Thelma falls for a scam and sends $10,000 to someone pretending to be Daniel, she hatches a plan to get her money back despite Daniel and his parents (Parker Posey and Clark Gregg) attempting to dissuade her. She pairs up with an old friend, Ben (Richard Roundtree, Shaft ), at a local retirement home and goes on an adventure to track down the scammer. As more roles open up for underrepresented demographics (in this case older adults), there has been a tendency to portray them as victims who need protecting. Often, older adult characters in movies get scammed or robbed and are rescued by a younger heroic figure. Similarly, many LGBTQ+ characters are portrayed as victims of hate crimes in ways where the story abandons character development and zooms in on the violence they endure. And, as has been frequently pointed out about the 2010s, moviegoers experienced a heavy dose of films surrounding slavery and civil rights. While the increased representation is a positive for marginalized groups, a common thread is them being defined by their suffering and in need of saving. Despite being a goofy comedy with the primary objective of providing a few chuckles, Thelma bucks this cinematic trend. Rather than chalking the scam up as a loss or letting someone else track down the perpetrator, Thelma takes matters into her own hands. Aside from the understandable anger that comes with being scammed, Thelma gains motivation from overhearing her family suggest that this incident proves it is time to put her in a home. In a sense, her goal is less to retrieve $10,000 than to retain her independence. Thelma’s plan requires some ingenuity, as she must first sneak away from her overprotective family, convince Ben to tag along, and even borrow (without asking) a weapon from a doddering friend who lives alone. Through Thelma’s actions, it is clear that she is of sound mind and physically capable enough to look after herself. After all, even most young and healthy people never go through the trouble to track down their scammers (I sure as hell didn’t). Not only does Thelma have to overcome the expectations of her family, she must rebel against the ideas of those in her own age range as well. Ben feels perfectly comfortable being supported by others and tries to convince Thelma that she will be better off surrendering to her family’s perception of her. His character illustrates that just like other demographics, older adults are not a monolith. Some welcome the chance to be cared for while others actively reject it. Additionally, Daniel struggles with the concept of “acting his age.” While it is clear that he genuinely loves his grandmother, he also takes great pride in caring for her. As a young adult who recently experienced a break-up, he carries with him an insecurity that he is not growing up fast enough and assuming adult responsibilities. He views looking after Thelma as a way of establishing his self-worth. His conundrum shows how our behavior and decision-making surrounding our aging relatives can sometimes be more about us than them. Much of the film’s humor comes from poking fun at the action genre, frequently through the use of its soundtrack. Several scenes invoke music that we have gotten used to hearing in fast-paced car chases or hand-to-hand combat. Yet in Thelma , the speeding sedans and shootouts have been replaced by slow-moving motorized scooters. While the music brings to mind scenes from cult classic thrillers that contain life-and-death stakes, there is no such threat when Thelma is simply trying to bust out of Ben’s retirement home or exit the gas station unseen. Mixed in with these “action” sequences are scenes where Daniel teaches Thelma how to use social media and recurring gags involving other members and staff at Ben’s retirement home. In addition to inducing several laughs from its audience, Thelma challenges our perceptions of those we view as feeble or incapable. While it is often out of love and concern, our assumptions can quickly become patronizing or ultimately about what we want. The film serves as a reminder to not be so quick to define what our loved ones are or decide what they should desire, but simply be there for them when the time comes. A decent comparison for Thelma is another June Squibb film from 2013, Nebraska . While less humorous, the film revolves around an older character (played by Bruce Dern) taking a road trip with his son to reclaim a prize and dodging predatory people who learn of his good fortune. Both films show how aging may make you a target but it does not have to render you helpless. 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 Sanctuary questions relationships and power dynamics with one unusual pairing Rumble Films, 2023 96 min Director/Writer: Micah Bloomberg / Zachary Wigon Reading Time: 5 minutes Sanctuary Timeless (GBV57KVQUTLVCWVJ) 00:00 / 05:14 📷 : Licensed from Shutterstock Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Barley: Movies and TV shows with a lot of dialog Chris Chaisson 2023-06-28 Sex scandals tend to dominate headlines in the worlds of business and politics. Not only is a lot of money and power involved, but the public is often eager to catch these influential figures in both compromising and hypocritical positions. Such scandals have unseated individuals, thrown large entities into brief turmoil, and provided fodder for late-night talk shows everywhere (some of which have similar scandals of their own). However, once the news breaks, very little attention is afforded to the events that may have led up to the information leak. Given the permanent loss of privacy the anonymous whistleblower often suffers, what level of desperation must they have reached to motivate them to come forward in the first place? The new erotic thriller Sanctuary dives into this very dynamic. Sanctuary drops us in the middle of a long-standing, erotic business agreement between Hal and Rebecca. Hal is a trust fund baby, the mid-30s son of an exceedingly wealthy, recently deceased businessman. For many months, Rebecca has privately served as his dominatrix, role-playing as he wishes and degrading him for his sexual pleasure. With the passing of his father, Hal is set to take over the business as CEO and thus seeks to end his meetings with Rebecca after a final meeting in his hotel room. As he says, he wants to “match his insides with his outsides,” a line he stole from his father’s memoirs. Rebecca is put off by being suddenly jettisoned from Hal’s sex life, and rather than take it in stride, she proceeds to blackmail him immediately after their last hurrah. She informs him that she has video of their sessions and will release them unless he adheres to her monetary demands. Hal must decide whether to give in to Rebecca or call her bluff, letting his secrets be known to his future peers and the public at large. The notion of powerful men seeking a submissive role in their sex lives may be a familiar narrative. Many judges and politicians have this detail revealed when their privacy gets exposed, rationalizing it as the need to find pleasure in being powerless given the pressures of their powerful positions. Sanctuary subverts this expectation with Hal. Though he has financial security and a business being handed to him, he is quite meek and insecure. While this initially appears to be a by-product of his dynamic with Rebecca, the only other character on screen, Hal’s lack of assertiveness comes through in his phone conversations with others. He never comes across as a powerful, domineering, or self-assured voice when talking to anyone, regardless of status. Deep down, he feels a level of guilt for his advantages in life and remains in his father’s shadow. He grieves his father’s absence, in part because he is not ready for a patriarchal role. On the other side, Rebecca at first seems to be handling her dismissal very poorly for no apparent reason. She has what appears to be an established business with other clients and has been compensated well. However, her role in Hal’s sex life has made her emotionally invested beyond business. She feels that the only reason he is ready to take over the company is because of the confidence that she has instilled in him through their affairs. Rebecca cites the fact that Hal was very timid when approaching her initially and developed enough self-assurance to write out a script for her to adhere to during their meetings. As the evening wears on, it becomes clear her emotional investment and demand for money go beyond just her pride in Hal’s development. The one-location indie serves as a long tug-of-war between a character with material power and a character with inner fortitude. Hal can only use his wealth and influence as a way to intimidate Rebecca, while she can use psychology to push back. This back-and-forth lends credence to why Rebecca is svelte and dainty rather than a large intimidating physical presence that the audience might associate with a dominatrix. Her understanding of Hal’s psyche stems from the fact that their role-playing is not so much the physical, S&M style often portrayed in kinky sex thrillers, but more mental. Writer Micah Bloomberg and director Zachary Wigon cleverly reveal the backgrounds of each character during both their foreplay and their haggling, so it never feels that they are bringing it up strictly for the audience’s benefit. Additionally, it explains Rebecca’s last gasp attempt to stay in Hal’s life. The best comparison for this two-character, one-location thriller is the 1994 film Disclosure , starring Michael Douglas and Demi Moore. As in every Michael Douglas movie, he plays a lusted-over businessman dealing with a scorned ex-lover (okay, maybe not every movie). Adapted from a Michael Crichton novel, Disclosure co-stars Meredith (Moore) as his boss, suing him for harassment over an encounter that she secretly initiated. Sanctuary feels similar in the sense that the other half of a private, socially taboo relationship has some modicum of power to manipulate the situation against a more traditionally powerful figure. 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< Back How Do You Like Your Cinema? What You Said about What You Watch Reba Chaisson 11/16/23 Reading Time: 15 minutes 📸: Licensed from Shutterstock When I conducted interviews with studio executives from HBO and October Films 25 years ago, one of the things they shared with me was that they received tons of scripts and videotapes from aspiring filmmakers, so much that it was impossible to review all the submissions. They suggested then that there is more cinema content available than places to display them. Less than ten years later, television and video technology exploded with the advent of DVDs, streaming channels, and movie websites. Today, we also have smart TVs, smartphones with advanced video functionality, and television on demand. The days of true appointment TV watching (having to be available when our favorite show airs) have long gone by the wayside. Undoubtedly, this new technology has spoiled us. We can pretty much see any show we want, any day or time that is convenient for us, and even any time zone we are in. No longer do we have to suffer through periods where there seems to be nothing on television we like. There’s plenty in terms of quantity and variety – and we can watch it any time we want! Well, maybe. While some of our favorite streaming series drop all the season’s episodes at once (potentially enabling what researchers call “ binge watching ”), others are released to us on a weekly basis throughout the season. We conducted a survey to learn how people like their streaming shows served to them. What we found was consistent with Statista’s finding that the younger we are, the stronger our sentiments on the subject. We asked more than 400 adults to tell us how they like to watch their favorite television series. A quarter of them told us first that they like “Traditional” appointment TV shows. Such shows are typically episodic, consisting of 12–16-week seasons with one new episode per week. Think shows like Chicago P.D. , F.B.I. , Found , etcetera. Prior to Smart TVs and satellite technology like DirecTV and Dish, you had to record the show on your VCR/DVD or be in front of your television when the show aired. Chart 1 - Respondents' Television Preferences Sixteen percent of survey respondents indicated they prefer “Limited series” - short focused serials consisting of 3-10 episodes. Think Game of Thrones , Breaking Bad , and Special Ops: Lioness . Although Limited series (or miniseries) sometimes evolve into multiple seasons, they are initially intended as a single story extended across several episodes. Not surprisingly, more than half (57%), though, told us that they like a mix of both Traditional and Limited series. This is not surprising given the new technologies ushered in over the last 20 years that allow for easy recording of our favorite Traditional shows on the major networks (free TV) and streaming platforms that make them available to us the way a library does books. Pick what you want to see and pull it off the shelf (hit play) when you’re ready. While it sounds blissfully convenient, it still falls short of the utopia many of us want to achieve. Limited Series TV Utopia For those who indulge in Limited series, we asked how they like to receive their content. More than 70% of these respondents indicated they wanted all the episodes available to them at once. This result is not surprising given the technology available that allows for controlling not only what and how much we watch, but when. The respondents seem to suggest that since the controls are already in our hands, why unnecessarily suppress our appetites for a series we are enjoying. Releasing all the shows at once allows for the cinematic experience we prefer. Chart 2 – Limited Series Appetite Much of the remainder of the group (27%) indicated that one episode per week worked for them. This is especially interesting because it suggests that a fair number of people who like focused series are patient enough to let the story play out over time. This could also be tied to occupation or personal responsibilities that make them unavailable for series viewing more than a few hours a week. While they are living their cinematic utopia, the majority, however, are not. We wondered if there were some concerns about serving up all of a season’s episodes at once. The Virtues and Risks of Limited Series TV Utopia Television researchers correlate the availability of all a season’s episodes to us as lending itself to binge-watching, which they define as “viewing suspenseful dramatic, narrative content for a considerable amount of time: often more than three or four hours.” While binging has a negative connotation, it isn’t presented in the research as a one-dimensional concept. In fact, researchers distinguish between “ problematic ” and “ non-harmful ” binge-watching. Problematic binge-watching is the use of television content to distract from everyday worries and feelings of loneliness. These, according to researchers, can lead to complacency and a reticence to persevere at important tasks – something my mother often referred to as malaise. In short, it has the potential to make us lazy and apathetic. Non-harmful binge-watching, on the other hand, is the gratification we receive from becoming immersed in the story and characters on-screen, as well as “critical thinking and social conversations” we develop as a result of the television-viewing experience. Psychology Today also reports on a study that found that not all TV-watching is bad. They write, “Some TV shows are complex and will keep you mentally stimulated. If you have fun or revealing conversations with your friends and family about TV shows, that’s a big plus: Social connection is as good for you as exercise.” Even this, though, should not be in lieu of activities like reading, exercising, and stretching the brain with crossword or jigsaw puzzles. So, while reasonably, non-harmful binge-watching is preferred over problematic, the former can gradually morph into the latter if it becomes our only source of leisure, escape, or activity. Why Limited over Traditional series? For survey respondents who indicated they preferred Limited over Traditional series, we asked them why. What they told us can be grouped into five categories: succinctness of story, quality of show, enjoyment, completeness of story, and self-control issues. Several examples of each are listed in the chart below. Chart 3 – Appeal of Limited Series Respondents who prefer Limited series cite substantive elements of the presentation to support their preference for such shows. The series are shorter, which makes the stories tighter and leads to both presenting conflicts and resolving problems quickly. Importantly, they cite Limited series as having a resolution, which indicates the significance of this to their television viewing experience. Fewer than a handful indicate that they struggle with control issues, noting tendencies toward problematic binging and making conscious efforts to avoid doing so. Think of the recent Paramount+ series, Special Ops: Lioness , with Zoe Saldana, Nicole Kidman, and Michael Kelly. The eight-episode serial was quite complex, layering in several storylines of military action, politics, undercover complications, and the leader’s (Saldana’s character) family life challenges. The complete, suspenseful story with an all-star cast packed a powerful punch, and still left you wanting to see it again – and again and again. It takes a conscious effort to avoid this. Engaging in other social and physical outlets helps us manage this. Why Traditional series over Limited? We also asked those who preferred Traditional over Limited series about the appeal of such shows, which, to be fair, do not all fit the definition of focused content. Mixed with suspenseful narratives like Chicago P.D. , NCIS , and Fire Country are the ultra-popular reality and talent shows like The Bachelor , Survivor , The Voice , and America’s Got Talent . What respondents had to say about watching Traditional series can be categorized into six groups: breadth and length of series, enjoyment, time for investment in the show, anticipation/suspense, lifestyle, and familiarity. Several examples of each are noted in the chart below. Chart 4 – Appeal of Traditional Series Most interesting about the responses is the emphasis placed on the investment of time to immerse themselves in the story and characters of Traditional series. Limited series are too “short term” to develop these elements of a show, so getting one episode at a time is the perfect cadence for them, and in some cases, it suits their lifestyles quite well. Consider the series, Chicago P.D ., soon to be entering its 13 th season. Could Sergeant Voight’s tough but loyal persona be appreciated in an eight-episode Limited series? Probably not. Generally, fans of the show (of which I am one) come to love him because the series, over time, allows for getting to know his depth and breadth of character. Also, unlike a Limited series, the Traditional series are reliable. Viewers are confident they will “stick around for more seasons.” Interestingly, though, a fair number of respondents indicate that they watch Traditional series simply because they grew up on this type of television viewing. Some habits are hard to break – or we simply have no need or interest in tampering with something that works for us. Are Demographics a Factor in Television Preferences? Our data shows that a wide range of people (ages 30-60) enjoy viewing Traditional series, while those younger and 45-60 prefer Limited series. That is, while 64% of Traditional series viewers consist of people ages 30-60, just under a third of Limited series viewers are 18-29 years of age and more than 1/3 rd are 45-60. By far, Traditional series is least preferred by 18-29 year-olds, where they comprise only 20% of Traditional series viewers. Chart 5 – Preference for Limited and Traditional Series by Age Group Data from Pew Research shows that few 18-29 year-olds are married with children. They are also either in college or in the nascent stages of their careers/occupations. It is not surprising, then, that 80% of our respondents reported earning less than $100,000 a year. At this age, some are in college, many are still supported by their parents, and most have few obligations, all situations that allow them to have some disposable income. This life stage, then, affords young people relative luxuries like streaming channels such as Netflix, Hulu, MAX, Showtime, Paramount+, and others, where Limited series are found in abundance. On these channels, the volume and breadth of content are wide and stream around the clock. So, for young people with energy, streaming channels are Limited series utopia on Earth. Other than those over 60, Limited series are least preferred by 30-44 year-olds, where they make up only a quarter of respondents who indicated they indulge in them. Many people in this age group are starting families and simultaneously gaining some traction in their careers/occupations. Although 40% of this group reported making $100,000 or more per year, research indicates they are careful about their spending and focused on shoring up the family’s savings for emergencies and college funds as opposed to paying for premium channels, where Limited series are typically available. Statista recently conducted a survey and found that the most popular streaming channels were, in order, Netflix, Prime Video, Disney+, and Hulu. Disney+ is likely one of the few premium channels 30-44 year-olds subscribe to because of its abundance of children’s programs. Amazon Prime is likely another because of its shopping benefits like free delivery. Few Limited series are available on Amazon Prime, however ( Jack Ryan is one of few exceptions), as the channel primarily streams movies and reruns of Traditional series. Forty-five to 60-year-olds make up the largest segment of Limited series viewers at 35%. They are also the highest earners, where 2/3 rd of this group reported having annual incomes of $100,000 or more. They are also homeowners with families that include children who are in college or nearing high school graduation. Now settled into their careers and making a comfortable living, people in this age group can better afford multiple streaming channels. This includes periodically adjusting the household’s streaming channel configuration with the ages of their children – and to their own cinematic tastes. Finally, more than half the people who reported making less than $50,000 per year are over 60 years of age. This is a sad commentary that speaks to the struggles of our older adults, many of whom have spent four or more decades working to be comfortable in their retirement. Unfortunately, it also suggests that this group has little money to commit to streaming channels for indulging in Limited series that they just might enjoy. In our data, this group makes up just 8% of those who watch Limited series. To sum, yes, demographics do indeed play a role in our television viewing preferences. Access to advanced television technologies influences the type of content we watch. Our cinematic tastes vary by age. But the extent to which we can indulge these tastes is constrained by our ability to pay for it combined with our own financial priorities. Understanding this, we have to wonder if the content we watch is a matter of preference or a reflection of what we have learned to enjoy because it is all that has been available to us. How do we explain what we watch? When we consider demographics, it raises the question: How much of what we watch can be attributed to cinematic taste versus conditioning and family budget considerations? Money is typically a consideration in most decisions as the overwhelming majority of us don’t have it like that. But I can’t help but feel for the large segment of society that is unable to engage in the content choices across the many streaming platforms to even see if there’s something there that resonates with them. Perhaps streaming companies can consider demographic factors like age, income, and even disability in developing a sliding fee scale to enhance content accessibility. In any event, while we have come to accept constraints around content access as the norm, we also have to acknowledge that these constraints shape our choices around the content we watch. Responding to questions around attribution are rarely, if ever, simple. Appreciating the complexity of the one posed here, though, allows us to at least ponder the degree to which our content choices are due to cinematic taste or conditioning. It is beyond the scope of this paper to delve further into this. Suffice it to say that undoubtedly, a bit of both plays into our preferences. Summary Comedian, Chris Rock, performed a bit in his Bigger and Blacker show, about arriving home from work and hearing a litany of complaints from his wife about people she had encountered throughout her day – family, friends, co-workers, etc. Tired and wanting his dinner to re-energize, he shouted, “Can’t I just get my big piece of CHICKEN?!” Similarly, and according to the data, most people who prefer Limited series want all their episodes at once. For them, these shows are succinct and of high quality. They are also rich, with well-developed characters, and stories that are complete. Watching them exemplifies the non-harmful binge-watching described by researchers that relates the gratification we receive from becoming immersed in the story and characters, and critically thinking through and talking about the content afterwards. None of our respondents mentioned engaging in conversation with family, friends, or colleagues about the shows. But we can reasonably assume that they do, given that we all generally talk to others about things we enjoy. Why then delay their gratification by releasing one show per week to those who are ready for more? Not doing so reminds me a bit of the famed Pavlov dog experiment - there is a fear that these viewers will engage in problematic binge-watching. This is not an issue for those who prefer Traditional series. They enjoy the breadth and length of the shows, and the fact that they are available only once per week suits them fine. They like how the plots develop over time, and they get to know the characters over time. Seeing the shows once per week gives them something to look forward to. It even feels familiar to them as many of them grew up watching television this way. By contrast, you can even say that people who prefer Traditional series are relatively patient. Regarding Limited series specifically, perhaps wanting all episodes at once primes these viewers to be impatient. To want everything everywhere and all at once (yes, this was intended). But the existing research doesn’t point to this as problematic. Indeed, our data suggests that those who prefer Limited series show no signs of having an unhealthy appetite for such content. So, come on streaming channels! Can you just give these viewers their big piece of CHICKEN?! Survey Demographics References Ehrenfeld, Temma. (2021). Watching (Too Much) TV Is Bad for Adults, Too. Psychology Today , (2021, June 8) https://www.psychologytoday.com/us/blog/open-gently/202106/watching-too-much-tv-is-bad-adults-too Flayelle, Maeva, Elhai, Jon D., Maurage, Pierre, Vogele, Claus, & Brevers, Damien. Identifying the psychological processes delineating non-harmful from problematic binge-watching: A machine learning analytical approach. Telematics and Informatics , 74, Article 101880. https://www.sciencedirect.com/science/article/pii/S0736585322001137#:~:text=Non%2Dharmful%20binge%2Dwatching%20is,by%20negative%20reinforcement%20motives%2Fimpulsivity . Fry, Richard and Cohn, D’vera. (2011). The Households and demographics of 30- to 44-Year-olds. Pew Research Center , (2011, June 27). https://www.pewresearch.org/social-trends/2011/06/27/iv-the-households-and-demographics-of-30-to-44-year-olds/ Pew Research Center. (2019). Millennial life: How young adulthood today compares with prior generation. Pew Research Center , (2019, February 14). https://www.pewresearch.org/social-trends/2019/02/14/millennial-life-how-young-adulthood-today-compares-with-prior-generations-2/ Rubenking, Brigett and Bracken, Cheryl Campanella. (2021). Binge watching and serial viewing: Comparing new media viewing habits in 2015 and 2020. Addictive Behaviors Report , 14, Article 100356. https://www.sciencedirect.com/science/article/pii/S2352853221000195?via%3Dihub Rubenking, Brigett, Bracken, Cheryl Campanella, Sandoval, Jennifer, Rister, Alex. (2018). Defining new viewing behaviours: What makes and motivates TV binge-watching?, International Journal of Digital Television , 9(1), 69-85. https://doi.org/10.1386/jdtv.9.1.69_1 Stoll, Julia. (2021). Share of adults who prefer whole seasons of TV shows on streaming services to be released at the same time in the United States as of October 2019, by age group, Statista (2019, October). https://www.statista.com/statistics/687388/binge-watching-preference-usa/ Woo, Angela. (2018). The Forgotten Generation: Let's Talk About Generation X. Forbes , (2018, November 14). https://www.forbes.com/sites/forbesagencycouncil/2018/11/14/the-forgotten-generation-lets-talk-about-generation-x/?sh=74d1762676d5 Zandt, Florian. (2023). The Most Popular Streaming Services in the U.S. Statista , (2023, July 20). https://www.statista.com/chart/25382/most-used-video-streaming-platforms/ 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!