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Boys in Blue offers a raw view into the lives of high school football players and coaches < Back Boys in Blue offers a raw view into the lives of high school football players and coaches Showtime Sports Documentary Films, 2023 45 minutes Creator: Peter Berg Reading Time: 7 minutes 📷 : Used with permission, Showtime Boys in Blue Vision (WHGTRGECNCLJ0AQJ) 00:00 / 07:56 Dandelion Movies and TV shows with heavy subjects Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2023-01-31 Okay, I am not a prude, just naïve about some things. Several years after my son graduated high school, I asked out of the blue if his high school football coaches used foul language. He was incredulous that I would ask a question that seemed to him to have such an “obvious” answer. “Yeah,” he said. I also learned that it was not unusual for football coaches to have profanity-laced practices and film sessions. Indeed, this was the norm. The documentary series, Boys in Blue , sent these memories rushing back and I could not help but laugh. So that’s what Brandon meant! Boys in Blue focuses on the North Community High School football team. Located in Minneapolis, the predominantly Black school sits in the middle of a poor community where sadly, gunfire and violence are all too common. Initially unbeknownst to the talented football players, the coaching staff consists of Minneapolis police officers. This combined with the team’s blue uniforms makes for an apt title for the piece. In addition to the jovial and open coaching staff, several of the kids are profiled. Hill, the 15-year-old varsity quarterback, is friendly but reserved, and quietly aspires to play professional football. Best friends Meiko and “Rio” are seniors whose goals are to do the same. And “Cash” is a sophomore who is focused on using football to “repay [his] family for everything they’ve done for [him].” The coaches are all in lock step with the kids, as their own goals are to help their players get where they want to go. In this sense, high school football, at least for many of the team members at North High, is a means to an end – but this is not in any way atypical. We know this from the numerous studies conducted by social researchers over the last 30 years. In The Great American Football Ritual , D.E. Foley writes about the season he spent studying a high school football team in a small Texas town back in 1990. He found that the Friday night “football ritual” played a significant role in how the players, and even the community, viewed themselves and their status relative to non-elite players and towns, respectively, based on the strength of their high school football program. The television series Friday Night Lights , which ran from 2005-2011, was based on H. G. Bissinger’s 2004 book of the same name . The critically acclaimed series was about a high school football team in Odessa, Texas, and its significance to the town’s identity. Like the kids at North Community High School, the players here aspired – even expected – to go to a major university and ultimately play in the National Football League (NFL). I think a lot about the level of emphasis kids and coaches place on getting to the pros. According to the NCAA , only 7.3% of high school football players play NCAA football, and of those, 1.6% go pro. In raw numbers, that is 254 NFL players out of 1,006,000 high school football athletes each year. Knowing these odds, should young people be given what can be viewed as false hope? Shouldn’t they instead be encouraged to pursue much more realistic, attainable goals? Admittedly over the years I have waffled on these questions. My family and I have had long, serious, and sometimes contentious debates at the dinner table on this very issue. The viewpoint I settled on is that these are not mutually exclusive paths. Pursuing the dream to play professional sports does not preclude simultaneously preparing for a more traditional career. Given the odds of going pro, grave mistakes are made when the former is heavily – or worse, solely emphasized over the latter. Still, some might say it is sad that the lofty dreams of the kids in Boys in Blue are not being tempered by the adults around them. Such statements though, reflect a lack of appreciation for the complexity of the kids’ lives. The sadness here should be reserved for the circumstances under which Hill, Rio, Meiko, Cash, and the other kids at North High are forced to learn and live every day. Gunshots are heard throughout much of the documentary’s filming. Coach Adams acknowledges the persistent violence in the surrounding community, adding with great seriousness: “But for some reason, when it’s game time (shaking his head slowly), don’t f*** up my football game. Don’t f*** up my football game.” When gunshots are heard during a talk outdoors with Rio and Meiko, Meiko casually comments: “I ain’t ‘gon lie; that sh** normal for us.” Much of the research on high school sports focuses on teams in Texas, with a smattering in Florida and New York, and all address things like identity, sense of community, unrealistic aspirations, and significantly, the dangers of concussion. Not to minimize the importance of these issues, but none hone in on the challenging and often dangerous conditions under which students learn, play, and even walk to school every weekday. Perhaps these were not the conditions of the communities that were studied. If so, then sense of community is not the same near North High as it is in the places focused on in many of the studies. So while the coaches in Boys in Blue can be criticized for not tempering the kids’ aspirations for going pro, they should be recognized if not rewarded for what they do provide. These include friendship, yet another family to trust and rely on, and a sense of security for their young players, who are experiencing daily travails that include just trying to stay alive. I was glad to see Peter Berg contextualize the players’ experiences in this work. Boys in Blue reminds me so much of the HBO series, The Wire , which ran from 2002-2008. Each season focused on a different aspect of the Baltimore community: the police, the streets, the docks, the media, and even a focus on the schools. During that particular season, viewers saw teachers find innovative ways to both connect their students to the work and show that they were there for them during difficult times. This is similar to the role of North High’s coaches in the training and support of their players. Also like The Wire , Boys in Blue delved into local politics and how the actions of leaders often impact students’ lives in unintentional but very real and stressful ways. Indeed, politics in the North High community looms over the fate of all of the boys in blue. While not technically a film, Berg’s Boys in Blue documentary series checks all the boxes for why it nonetheless fits the indie sector so well. It tells a small story of a high school football team in an urban community, allowing the audience to not only get inside the school, but inside the players and coaches’ lives. The significance of this cannot be understated. Whereas judgments are often made about predominantly Black schools and the kids in them, this work gives us the privilege of an extended firsthand glimpse over four episodes. With this, we can at least begin to form/shape/modify our own ideas about the kids, families, and coaches through a deep and broad lens. At Cup of Tea Critiques, we rarely recommend a production – this will be our first (and perhaps only) exception to this. 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The Untold Story of Mild Sauce will make you chuckle and reminisce < Back The Untold Story of Mild Sauce will make you chuckle and reminisce Ill-Hio Films, 2021 13 minutes Director/Writer: Anton Deshawn / Johnathan Craig and Anton Deshawn Reading Time: 3 minutes 📷 : Used with permission, Anton Deshawn The Untold Story of Mild Sauce Cats And Dogs Living Together (ECIADMH14RKW9MLT) 00:00 / 03:16 Oolong Movies/shows that make you laugh or involve physical activity like exercise/dance Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows Chris Chaisson 2023-04-11 For anyone who vividly remembers ‘90s R&B and VH1 programming, The Untold Story of Mild Sauce will offer quite a few chuckles. Shot in mockumentary style, the story raises the curtain on fictional R&B group Mild Sauce, a four-person boy band comprised of Vonn, Juju, Heno, and Dre, and their manager Stony Mack. Between narration and confessional-style interviews, director Anton Deshawn splices in Mild Sauce’s music videos. The choreography and vocals are clearly meant to poke fun at hit songs by the extremely popular groups of the era, namely New Edition, Boyz II Men and Dru Hill. Interestingly enough, the humor hits harder now that R&B music has transitioned away from this style. In the ‘90s and early 2000s, boy bands in pop and R&B were so revered that it would be tough to imagine anyone producing a satire of them. Contemporary groups largely consist of individual acts that collaborate across other genres and lean heavily on sex appeal. The generation-old trends that The Untold Story of Mild Sauce mocks make it easier to look back and laugh at styles that were universally admired at the time. The funniest element of The Untold Story of Mild Sauce is without a doubt the lack of accountability that permeates the actual VH1 Behind the Scenes -style interviews. Generally, the artists and managers alike never own up to any of their transgressions. They instead point the finger at other parties, rationalize their actions or simply deny details that have already been proven true. Mild Sauce turns this into a recurring gag, where the members do not take responsibility for the downturns in their careers or in their personal lives. In one particular interview, a Mild Sauce member will not even give kudos to a female R&B group (likely a nod to TLC or En Vogue) that outsold them at the time. Similarly, Stony Mack does not own up to ripping off the band, just as most managers never do. As is common in VH1 Behind the Scenes stories, a publicist, manager or record label executive takes advantage of the group’s success and cheats them out of money. Mack’s denial is consistent with a vast majority of stories we hear from the music industry, where the swindler acts as though other expenses prevented the band from getting paid out. The interview segments cleverly mimic those from every documentary or biopic that we watch about feuding artists and deceitful management. At this point, so many of our favorite musicians from the past have decided they hate each other, so we may as well poke fun at the never-ending feuds. The Untold Story of Mild Sauce serves as part satire, part time-machine, and executes both equally well. Available on Kweli TV 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 Bear presents layered characters struggling in a pressure-packed profession. < Back The Bear presents layered characters struggling in a pressure-packed profession. FX Productions, 2022 30 minutes Creator: Christopher Storer Reading Time: 5 minutes 📷 : Licensed from Shutterstock The Bear Need for Speed (ALTE9ZSD0ZNQDXAR) 00:00 / 05:57 Chamomile Family dramas Saffron Movies and TV shows with great visual effects Chris Chaisson 2022-09-07 On the big screen, the director calls all the shots and gains notoriety when a movie is well-received. However, in television, directors do not get nearly the same level of publicity or recognition. Often considered interchangeable, any given show can have several directors, even in just one season. Given this stark difference between television and film, the shooting style for shows can often be generic. For this reason, the new and critically acclaimed series The Bear stands out. Its stylized direction offers a contrast from many of its contemporaries and, paired with exceptional writing, has created a memorable first season. Starring Jeremy Allen White ( Shameless ), The Bear follows Carmen “Carmy” Berzatto, a world class chef, and the back of the house crew at his family-owned sandwich shop on the south side of Chicago. The show is chock full of references to The Second City, be it the transportation, major streets, architecture, or consistently disappointing sports teams (I’m not bitter at all). On the surface, the show is about the turbulence and pressure that comes with working in food service. However, as the show’s title is a reference to the protagonist’s nickname, the deeper meaning of the half-hour drama is Carmy’s relationship with his family, specifically his deceased brother Michael (played in flashbacks by The Walking Dead ’s Jon Bernthal). The Bear utilizes every element at its disposal to convey the stress of running a kitchen. Creator Christopher Storer ( Ramy ) selects shots that make the viewer feel as though they are in training and shadowing the chefs. To heighten the senses, the show incorporates fast-paced music in the background as they toil, sometimes increasing in speed when they butt heads with one another. The camera often follows the characters around every corner as they slide past each other, shout instructions and multitask. It frequently swish pans between speaking characters and swerves as it circles the kitchen island. The audience experiences an abundance of close-ups, specifically when a character is stagnant as they taste-test or check order receipts. Although there is plenty happening in regards to the restaurant in each episode, the FX series does not deny its audience three-dimensionality with its main characters. Carmy is an award-winning chef who has worked at the best restaurants in the world, so resurrecting the modest sandwich shop proves to be a humbling experience for him. In the later episodes, we learn what drove him to be so accomplished. His cousin Richie (Ebon Moss-Bachrach, Girls ) wants to preserve the old feel of the shop and clashes with Carmy, who tries to run a tighter ship. While he is protective and loyal, Richie exhibits obnoxious, unfocused, and misogynistic behavior. Though he plays an antagonistic role at times, making Carmy’s job harder for seemingly no reason, a lot of his demeanor is explained by him masking the pain he feels at the sudden death of his best friend Michael. Two characters that try to help Carmy, but actually frustrate him, are Sydney (Ayo Edebiri, Big Mouth ), the second-in-command chef, and his sister, Natalie “Sugar” Berzatto (Abby Elliott, How I Met Your Mother ). Sydney is ambitious and innovative but often tries to force change too quickly. A young woman and relatively new to the team, she struggles to gain the respect of the rest of the kitchen. Her efforts to connect with Tina (Liza Colón-Zayas, In Treatment ) are initially rejected, and she continuously deals with Richie talking down to her. Through some successes along with Carmy’s support, she gains confidence but still carries doubt from her past shortcomings as a culinary entrepreneur. Natalie, on the other hand, expresses concern for Carmy’s well-being. While not a fan of the restaurant, her love for her brother is obvious in how frequently she reaches out to him and attempts to get the restaurant on solid financial ground. The Bear’s best aspect is that it allows you to empathize with every character. From a professional standpoint, anyone who has worked in food service can relate to how the main characters cope with rough shifts and unwind afterward. For instance, Carmy goes home and, despite all his cooking expertise, makes a peanut butter and jelly sandwich. The show also allows you to relate on a personal level. Anyone watching has grieved the death of a loved one and maybe even tried to continue working a job while doing so, like Carmy and Richie. Any viewer can relate to feeling like an outsider in a new job or school, especially when coming off a failed venture as Sydney does. Many audience members have had an aloof sibling that they wanted to open up to, similar to Natalie’s experiences. While very different people, the one thing the main cast of characters has in common is their struggle to overcome self-doubt. All of their emotions are easy to understand and add depth to their interactions. The Bear will get your blood pumping during the lunch rush but may make you misty-eyed when the shift finally ends. 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 English features a pairing uncommon in its genre < Back The English features a pairing uncommon in its genre Amazon Studios, 2022 51 minutes Creator: Hugo Blick Reading Time: 5 minutes 📷 : Licensed from Shutterstock The English Heist (X2EIFVYLXVNFHFWM) 00:00 / 04:54 Rosemary Movies and TV shows with intense action Barley Movies/shows with a lot of dialogue Chris Chaisson 2022-12-23 If you’re a fan of westerns, you know how often they center around a tough-as-nails protagonist, sometimes forced to fend for themselves. Ninety-nine percent of them tell a story through the perspective of a rugged White cowboy, rescuing a damsel in distress from outlaws or saving an entire town. While there are plenty of tales of vigilante justice, they rarely consist of any other main character than the typical perpetrators of self-righteous violence. Given the rigid characterizations we’re used to, Hugo Blick’s new mini-series The English provides a refreshing change of pace. The English revolves around Cornelia (Emily Blunt), a British aristocrat venturing across the Great Plains in 1890 to avenge her son’s murder. Cornelia comes from privilege but is skilled in both riflery and archery. Along the way, she crosses paths with a Pawnee tribe member, Eli Whipp (Chaske Spencer), heading to Nebraska to claim land he is owed for his military service according to the Homestead Act. When Cornelia first happens upon Eli, she rescues him from a rancher attempting to kill him. While initially going their separate ways, they reunite and continue westward to complete Cornelia’s mission together. For much of the series, Cornelia seems to be a fish out of water. She carries a large bag of cash with her in a satchel on her horseback carriage. As if that didn’t make her enough of a target, she wears fancy, pristine attire and skillfully applied cosmetics, not hiding her wealth at all. Every character around her carries with them the toll of physical labor or combat on their faces and clothes. This is in stark contrast to Cornelia’s prim and proper appearance that leads everyone to underestimate her, which she frequently uses to her advantage in the face of danger. Even after committing gruesome acts of violence, Cornelia seems troubled and guilt-ridden. In a universe with a desensitizing amount of violence, she serves as a presence right on the threshold of civilized and barbaric behavior. In contrast to the expressive Cornelia, Eli remains a portrait of stoicism for much of the mini-series. Likely a product of his military training, Eli’s even-keeled nature conceals not only the grief he feels from lost loved ones, but the burden of the oppression he experiences as a Native American. Despite his service, he still finds himself as the game being hunted in many scenarios, surviving due to his own cunning and Cornelia’s loyalty. The supporting characters stand much more in line with the typical Western personas. Most of the villains throwing up obstacles for Cornelia and Eli have the typical conniving motivations, out for riches (of which Cornelia has plenty), property or scalps to put on display (gross). Many either operate by the code of “kill or be killed” or have deep-seated bigotry toward Native Americans, to the point of engaging in grand, faux-philosophical discourse with the reluctant protagonists. Unlike your typical vengeance story, the focus of The English turns out to be the bond forming between the two leads. The audience can determine this based not only on where the majority of the series is spent but where it picks up. We are thrust right into the midst of Cornelia’s journey, meaning we neither meet the villain that she is after nor see the inciting incident that spurred her on. Similarly, for Eli, his time with the military ends at the very beginning of the pilot, upon which he is reminded by a fellow service member, “In there, you’ve been one of us, but out here, you’re one of them.” The series’ focus on the friendship rather than the vengeance itself could be construed as a statement on the unfulfilling nature of revenge. Though violence is as second nature to some as it is unthinkable to others, payback rarely satisfies the seeker as much as they expect it to. A hidden message in The English may be that the best way to heal from a painful loss is to foster relationships with those that are still here. Though each belongs to a different broader genre, The English and Kill Bill are similar revenge stories. Cornelia, like The Bride played by Uma Thurman in Kill Bill , lost a child and seeks retribution, killing many other villains in gruesome fashion along the way. Both characters are greatly underestimated by some of their foes. At the end of each of their journeys, the chase and eventual slaughter left both characters less content than the time they shared with their close companions along the way. 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!

Interviews Derek Magyar A Conversation with River of Grass Director Derek Magyar River of Grass Writer/Director Derek Magyar sits down with Cup of Tea Critiques Chris Chaisson Reading Time: 13 minutes Read More Greg Sgammato A Conversation with Film Composer Greg Sgammato Cup of Tea Critiques chats with Greg Sgammato, film composer and member of the Society of Composers and Lyricists Chris Chaisson Reading Time: 18 minutes Read More Steven Renkovish Interview: A Talk with Writer/Director Steven Renkovish Interview with Writer/Director Steven Adam Renkovish on The Awakening of Lilith Chris Chaisson Reading Time: 18 minutes Read More Alain Fleury A Conversation with Black Panther: Wakanda Forever Assistant Editor Alain Fleury Alain Fleury joined COTC to discuss the ins and outs of assistant editing for big-budget Marvel movies Chris Chaisson Reading Time: 16 minutes Read More Anton Deshawn A Conversation with The Untold Story of Mild Sauce Writer/Director Anton Deshawn Writer/Director Anton Deshawn joins COTC for a deep dive into his short film Chris Chaisson Reading Time: 11 minutes Read More Dani Abraham A Conversation with Murder, Anyone? Producer Dani Abraham Cup of Tea Critiques has a chat with Murder, Anyone? producer Dani Abraham Chris Chaisson Reading Time: 14 minutes Read More Alex Morsanutto A Conversation with Operation: Cavity Writer/Director Alex Morsanutto Cup of Tea Critiques sits down with indie director Alex Morsanutto Chris Chaisson Reading Time: 10 minutes Read More

Wannabe highlights the virtues of enduring tough times together rather than alone < Back Wannabe highlights the virtues of enduring tough times together rather than alone Breach, 2020 11 minutes Director/Writer: Dorothy Allen-Pickard / Dorothy Allen-Pickard, Billy Barrett, and Ellice Stevens Reading Time: 3 minutes 📷 : Licensed from Shutterstock Wannabe K-Whut? (RY5O5CKHQHXAS99J) 00:00 / 03:52 Jasmine Movies and TV shows with heart, positive vibes, and warm messages Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Reba Chaisson 2023-02-15 You may remember the 1997 film, The Full Monty , about six unemployed men in Britain who make the big decision to strip for money. Similarly, Wannabe is a story of five older female friends, also in Britain, who come together to help Anita, a member of their group who is struggling financially. Initially unbeknownst to her, Anita’s four friends decide the five of them will team-up and put on a show as an older version of The Spice Girls. Still working at age 75, Anita, played by Anita Donaghy, falls “in the red” when her hours are cut at work, making it difficult to keep up with her bills. When she visits Anita to ask why she has not been attending their regular line dancing outings, Joan, played by Joan Brigden, stumbles upon “a demand letter” and is sworn to secrecy. Anita’s desire to keep her financial struggles to herself exemplifies how shame and embarrassment are internalized when individuals are challenged to keep up with their bills. This is particularly the case for those who are older and expect to be past the stage in their lives where they are unable to meet their everyday obligations. The capitalist ideology of individualism - responsibility for self and pulling oneself up by the bootstraps - intensifies the sense of guilt a person feels when he or she falls short of this ideal. We blame ourselves when we can’t pay our light bill, are late on our car note, or cannot pay the full amount due on our credit card, even though we have little if any control over what got us to that point (i.e. hours being cut, being laid off, the rising cost of food and gas, falling ill, caring for family members). These events are disruptive to our lives and largely beyond our control; yet, we carry around a deep sense of shame about their consequences because of the overarching idea that each of us is responsible for ourselves. And thus, asking for help is a sign of weakness. Given this reality, it is no wonder Anita wants to keep her struggles private, even from her closest and most trusted friends. As Anita’s friends brainstormed ways to help her, I thought about how creative people in challenging circumstances have always had to find ways to make things work. Back in the day, people in some working-class neighborhoods held “rent parties,” where friends would get together and play cards for money and give the winnings to the host to help with their bills. Young kids would offer to wash cars and run errands for neighbors, or take glass bottles to the store to get 2-5 cents for each. (Today, bottles are deposited into recycling bins, so now, companies get the money!) Anita’s friends putting on a Spice Girls show was an interesting idea given their age group, and it promised to make for a fun and enjoyable 11 minutes. Not surprisingly, there are indeed some hilarious moments. But what you are most likely to be left with are the poignant ones. Throughout the film, I couldn’t help but admire the group’s dedication to their friend, their commitment to the project, and their willingness to do what was necessary to help – short of what they viewed as “embarrassing [themselves]” that is. If you have just a few minutes, this one could be worth your time. 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!

Small Axe depicts the multifaceted experiences of people from Carribbean islands living in Britain during a tumultuous period. < Back Small Axe depicts the multifaceted experiences of people from Carribbean islands living in Britain during a tumultuous period. Turbine Studios, 2020 60 minutes Creator: Steve McQueen Reading Time: 6 minutes 📷 : Licensed from Shutterstock Small Axe Port Town (NGKEV1LNFLSDFQ2A) 00:00 / 07:24 Honeybush Nonfamily dramas with strong socioeconomic themes Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2021-07-25 Small Axe is a series of five film shorts ranging from just over one hour to a little over two. The distinct docudramas focus on the experiences of people from the Caribbeans living in Britain between the late 1960s and early 1980s. The filmmakers exquisitely capture the aesthetics and cinematography of the era through dim lighting, signage, and tight spaces. Afros, big glasses, bell bottom pants, and soulful sounds of Marvin Gaye’s “Got to Give It Up,” Al Green’s “Still in Love,” and Bob Marley’s reggae take us back to the house– and on‑campus parties of the period, further driving home the old-school feel. As depicted in “Mangrove,” the first episode of the series, any place Blacks gather is viewed by British law enforcement as a place where crime and conspiracies are plotted, even Mangrove Restaurant where West Indian cuisine is served. Despite immigrating to Britain to pursue “educational and economic opportunity,” people from the Virgin Islands and countries like Jamaica and Antigua endure suspicion by police who patrol their communities on foot and by car. Men are continuously and casually harassed, beaten, and arrested by police who simply resent them for standing alone on a corner, walking down the street, or even looking them in the eye. The brutality reminded me of documentaries like Eyes on the Prize that chronicled the Jim Crow South, where Blacks were relegated to segregated communities and forced to adjust their upbeat and confident demeanors when White police officers came around. They did this out of fear of being beaten and/or arrested—for being Black. And interactions with police traumatize and change people when there is no justice and accountability. In 1970, the late Roscoe Lee Brown starred in a film set in the segregated South called The Liberation of L.B. Jones. I remember my older sister watching it on television when I happened to see a scene where two White officers on patrol in a Black community at night, stopped a woman walking home with a bag of groceries. One coerced her into the back seat of their vehicle and let her out sometime later. Clearly ruffled and shaken, she was without one of her shoes, turning her ankle as she got out of the car. Her blouse was buttoned incorrectly, and her skirt was twisted. I was young—very young—but even I knew what happened in that back seat. The sweaty officer slicked his hair back, got in the front passenger seat, (His partner remained in the driver’s seat during the assault.) bid the woman ‘Good evening,’ and calmly drove off. Watching the police encounters across several of the Small Axe episodes brought back this memory of the police operating in Black neighborhoods in the South with impunity. While similar scenes are not depicted in Small Axe, the series shows women like Altheia Jones and Barbara Beese being dismissed, arrested, and frequently called derogatory names by law enforcement. Played by Letitia Wright (Marvel Cinematic Universe, Black Panther) and Rochenda Sandall (Line of Duty, Criminal: UK), both women vehemently protest, resist police action, and lead calls for justice and accountability. In the “Red, White and Blue” segment, Leroy Logan, played by John Boyega, joins the London police force with the aspiration of changing the way policing is conducted in West Indian communities. He quickly learns how challenging this is when his fellow mates are unwelcoming in the station house and unsupportive on the streets. During walking patrols in the community, he is also treated as a traitor by residents, soon realizing that it is lonely being a bridge between his community and the police. Frustrated, he breaks down and declares “Sometimes I think this earth needs to be scorched, replanted, so that something good will come of it.” Not all West Indian experiences in Britain are portrayed as negative though. “Lover’s Rock” depicts a house party where young men and women dance, drink, smoke ganja, and even fall in love. A slice of heaven, the party makes it clear that the group strives to carve out a space where its members can freely express themselves and tune into their culture through music and dance. Many of the songs played by the DJ are quite familiar to the group as evidenced by several sing-alongs. Even a spiritual bonding occurs during the playing of a highly popular instrumental reggae tune called “Kunta Kinte.” The music, dancing, and even cat-mouse love games at the party are entertaining, though the sing-along and single-song dance scenes go on for much, much too long. Long, drawn-out, over-narrated, and monotonous or silent scenes are the downsides of Small Axe, particularly when contrasted with the substantially shorter emotional scenes. In “Alex Wheatle,” Alex, played by Sheyi Cole (Boxing Day, Made in Hollywood), is shown laying isolated on a floor in a straitjacket and revealing his deadpan eyes for 1 minute and 45 seconds. No music, no movement, no dialog, only this long period of silence. On the other hand, an emotional scene over a family dinner in “Education,” the final episode, is short-lived, only 60 seconds. I cannot help but feel that the audience needed to share in the family’s emotion and feel its pain in order to connect with the cost and significance of racist educational practices. In crucial moments like this, the films missed opportunities to immerse the audience in the stories and give viewers the space to absorb the messages being posited. The big takeaway from Small Axe though, is for Blacks in the U.S., specifically Baby Boomers and older, to appreciate the similarity in struggles with Blacks in Britain. In doing so, it broadens viewers’ perspectives about the treatment of Blacks in the West and informs thinking about strategies for progress. If you like good music and can tolerate the dim aesthetics of the ‘60s, ‘70s and ‘80s, this could be a worthwhile view. Listen carefully to the dialog though. Occasionally, the West Indian dialect and British accent can be tough to discern. 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 Content Manager Apply Now San Francisco, CA, USA Job Type Full Time Workspace Hybrid About the Role This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. Your collection is already set up for you with fields and content. Add your own content or import it from a CSV file. Add fields for any type of content you want to display, such as rich text, images, and videos. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Requirements This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left. This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left. This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left. This is placeholder text. To change this content, double-click on the element and click Change Content. To manage all your collections, click on the Content Manager button in the Add panel on the left. About the Company This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. You can create as many collections as you need. Your collection is already set up for you with fields and content. Add your own, or import content from a CSV file. Add fields for any type of content you want to display, such as rich text, images, videos and more. You can also collect and store information from your site visitors using input elements like custom forms and fields. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Preview your site to check that all your elements are displaying content from the right collection fields. Apply Now

The First Time I Never Met You adds a wrinkle to the time-traveling genre < Back The First Time I Never Met You adds a wrinkle to the time-traveling genre Blue SiReine Productions, 2024 13 minutes Director/Writer: Eric Kole Reading Time: 3 minutes 📷 : Used with permission, Eric Kole The First Time I Never Met You Home Inside 00:00 / 03:50 Coca Movies and TV shows about drugs or with disorienting presentations Saffron Movies and TV shows with great visual effects Chris Chaisson 2024-11-08 Whenever the question of, “What would you do if you could travel through time?” comes up, the common answer tends to be stopping a catastrophic world event. In reality, most people would rewind to a key moment in their personal lives. A regrettable action, a crossroad, or a fond memory would be the likely options. There is no moment quite so blissful and heartbreaking as a character seeing a deceased loved one again, whether real or imagined. Eric Kole’s sci-fi short The First Time I Never Met You touches on this phenomenon. John, a physicist, dives headlong into his work in the midst of grieving the loss of his wife, Esmé. Dismissed from his job, he seeks a distraction, even neglecting those around him to find it. After an accident in his workspace sends him time-traveling, he winds up at a familiar pub, glancing around and trying to get his bearings. His bartender and close friend tells him the date on the calendar, and he realizes where he is: the scene of his first date with Esmé, right before she enters the pub. Knowing what he knows now but still being his younger self, can he make the right first impression for a second time? The First Time I Never Met You creates an interesting pressure-packed situation for its protagonist. John does not get to time-travel and be a casual observer, nor does he get to follow in the footsteps that he already walked. First, he desperately wants to woo Esmé but also shift to a path that does not lead to her untimely death. Second, he finds himself in this situation just a few minutes after sitting in his workspace completely morose over her passing. So, the shock to his system ultimately will take some time to wear off before he can be his most charming self. Lastly, John must silence his inner physicist that is still trying to piece together how he wound up there. Though time-travel is a familiar concept in the world of sci-fi, the premise of The First Time I Never Met You calls attention to the things we take for granted. It is easy to get bogged down in our daily, weekly, and yearly routines and forget that nothing is forever. The reality that the future is not guaranteed never fully hits John. Rather than relishing the opportunity to be in Esmé’s presence again, he becomes preoccupied with creating a parallel timeline where Esmé has a chance at a longer, and perhaps in his mind, more permanent life. Understanding this, the short urges us to appreciate every moment with our loved ones and avoid trying to control what we ultimately cannot. Time-traveling sci-fi movies are often married with the action genre rather than romance. Nonetheless, the first comp that comes to mind is the critically acclaimed About Time , starring Domnhall Gleeson as a son who gets to see his deceased father again. Digging deeper, The First Time I Never Met You resembles an older and less discussed rom-com, Serendipity . John Cusack and Kate Beckinsale co-star as a couple-to-be ruminating over the idea of whether fate brings people together. The topic of how much control we have over our lives seems to intensify surrounding our significant others. Do we have a soulmate or could every little action, thought, or word be the difference between companionship and loneliness? In any case, John’s quandary of changing the future while laying on the charm makes our first dates seem a little less nerve-wracking. 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!

Catalina considers what it means to call someone a friend < Back Catalina considers what it means to call someone a friend rubbertape, 2022 16 minutes Director/Writer: Tyler Rabinowitz / Sam DiGiovanni Reading Time: 4 minutes 📷 : Used with permission, rubbertape Catalina Friendship And Enmity (BYXIMB0N9DPNS9UC) 00:00 / 04:20 Chamomile Family dramas Ginger Thought-provoking movies/shows Reba Chaisson 2023-10-02 Located off the coast of southern California, Catalina Islands (or Catalina) boasts wonderful activities, restaurants, and accommodations for our vacationing pleasure. Why, then, would anyone go there to camp? Gus, Will and Brian do – and they make the trip every year to relax and reconnect. Catalina is about the bond the three have shared since childhood and their intentional efforts to remain close. The late twenty-something trio differ in several ways. Will is African American and Gus and Brian are White. Gus and Brian are secure in their chosen careers and Will is in flux after recently dropping out of law school. Gus is gay and his friends are not. Their relationship is unusual since most of us engage in gender homophily , meaning our closest friendships tend to be with people whose sexual orientation is the same as ours. Researchers found that the quality of male cross-orientation friendships is high. This is remarkable given that most heterosexual males hold steadfast to traditional views of masculinity. So, the idea of men being friends, let alone, good friends with someone of a different sexual orientation is astonishing. But in Catalina , Gus (Sam DiGiovanni), Brian (Ben Holtzmuller) and Will (Ronald Peet) are comfortable divulging their personal and professional struggles to one another without fear of judgment or criticism. This comfort level is something we typically find with our parents, close family members, and occasionally, long-time best friends – people we trust to offer support and encouragement rather than a snicker and/or admonishment. Researchers also found that close cross-orientation friendships usually predate disclosure of the gay member’s sexual identity. Sharing their sexual orientation with their heterosexual friends creates the space for the group’s relationship to grow deeper and more supportive. Gus, Brian and Will exemplify this as their friendship began when they were just kids and their depth of caring for one another has deepened over the years. Part of this consisted of the men gradually, over time, shedding their ideas about what constitutes masculinity. There are cases, however, in cross-orientation friendships, when heterosexual group members pull away because of concerns about being hit on by their friends who are gay. There are also instances where gay members make assumptions about their friends’ ideas about them, leading them to keep their sexual identity to themselves or avoid their friends for fear of ostracism and ridicule. Catalina touches on this dilemma when Gus, obviously hesitant, hits on one of his friends. This pivotal moment risks the film falling into stereotypes about both gay and heterosexual men. The film, though, reaches beyond these tropes to center this moment as a test of their friendship, so we can watch with bated breath if it will bend, break, or hold firm under these taboos. Among the many things I learned from a dear friend of mine who recently passed away, was to be intentional in loving the people you say you love. Catalina crystallizes this and for that reason, I found this film quite moving. Director Tyler Rabinowitz’s work makes us consider just how much richer our lives could be if we were intentional in letting go of our phobias and the contempt they breed. Catalina depicts this possibility along with the stumbling blocks that can occur along the way. How we handle them says something about us and the importance of our friendships. The short isn’t a tearjerker, just a 16-minute depiction of what it means to call someone a friend despite your differences. As for camping - don’t mind me. I like the outdoors, but I just crave modern amenities like plumbing, glass plates, and a roof over my head. 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!

Almost Certainly False drives home the risk of reductionist language < Back Almost Certainly False drives home the risk of reductionist language EKHO, 2025 20 minutes Director/Writer: Cansu Baydar Reading Time: 5 minutes 📷 : Used with permission, Cansu Baydar Almost Certainly False Eastern Sunrise (L3G6QGJF4FNZRQBY) 00:00 / 06:23 Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Ginger Thought-provoking movies/shows Reba Chaisson 2025-02-27 The thing about the word “refugee” is its reductive and objectifying connotation, reducing the person to an object and robbing them of their humanity. While not unique to the U.S., we are one of the biggest purveyors of language that dehumanizes people (e.g. slave, undocumented, illegal, foreigner, criminal). But for this talk, the focus is on “refugee,” which refers to a person fleeing dire circumstances in their home countries, circumstances like political retribution, religious persecution, climate change, famine, and of course, war. Several years ago, COTC published a review of the theatrical release, In Syria , which is about the plight of a family sticking it out in their bombed-out apartment building during the nascent stages of the Syrian War. During its 2025 festival in Utah, Sundance screened a short film that gives another perspective of this war. Rather than a look from the inside-out, Cansu Baydar’s Almost Certainly False gives a glimpse from the outside-in through the eyes of Hanna, a 20-something who fled Syria for the safety of Turkey with her adolescent brother, Nader (Isa Karatas), in tow. Now settled in Istanbul, Hanna, played by Rahaf Armanazi, has a one-bedroom apartment from which she makes a living doing manicures, as her restless little brother looks on. The two often have conflicting priorities. She needs to work when he wants to play with a ball in the small space, for example. Or he beckons her attention in some other way, but she is distracted with straightening up. Though they occasionally tussle when Nader gets frustrated, ultimately, the two hug it out as they learn to manage what has clearly been a difficult adjustment for them both. Hanna has a social life, which includes hanging out with her best friend, Esra ( Büşra Albayrak) , who is slightly younger than her and seemingly oblivious to the fact that Hanna is responsible for a younger brother. Still, the two manage to find time to talk and hang out socially. When Benjo arranges a blind double-date with her and her boyfriend, Hanna meets Ibo, a Turkish gentleman played by Ferhat Akgün. Ibo confirms with her what he seems to already know, that she is “a refugee.” He then persists in telling her that she doesn’t “look Syrian.” Throughout the evening, Ibo is obsessed with Hanna’s appearance, looking at her with a gaze of disbelief like she is something other-worldly. Again, he says, “You don’t look Syrian.” It is not clear if Ibo is smitten with Hanna’s looks or taken aback by how full of life she is or perhaps, that she is even human. It is as if he expects her to be or look like something or someone else. Hanna maintains a very strong sense of self despite enduring difficult circumstances in her short life. We see this as she confidently shares with Ibo her plans for the future. With a tone of disbelief, he wonders aloud how she is going to accomplish this. She retorts indignantly, “How do you think?” and “How else would anyone do it?” Ibo’s gaze and obsession with Hanna’s appearance reminds us of the rancor around the heavy European immigration to the United States during the late 19th and early 20th centuries. It also brings to mind the more recent hostile sentiments expressed by political leaders hyper‑focused on people arriving from countries in North Africa, East Asia, and especially nations south of the U.S. border. The same can be seen and heard in Europe in recent decades, as evidenced by news stories on immigration and dramatized in films such as The Old Oak . Ken Loach’s 2023 film, The Old Oak , is centered on a working‑class Irish enclave in the UK, where struggling residents resist the settling of new Syrian immigrants in their community. They not only stare at them because of their difference in appearance, but they also view them as something other than human. This is evident in the harsh words they use and in their often-combative treatment of them. While Cansu Baydar’s Almost Certainly False avoids delving into nasty forms of rejection, Ibo’s objectification of Hanna is enough to give us hints about her experiences as a Syrian immigrant in Turkey. Interestingly, the film also conveys that xenophobia is not unique to countries in the West, but perhaps manifests quite differently. There is a tendency to objectify those who look different and paint them as something other than what they are. The problem with this is it runs the risk of locking them into concrete boxes stamped with words and meanings that not only fail to convey who they are, but they narrow the aperture through which they are viewed by others and limit what they can become. In Almost Certainly False , Ibo’s view of Hanna suggests this marginalization of her has already begun. She is viewed as this thing called a “refugee” who doesn’t look like who she claims to be and has no chance of achieving what she dreams to become. In The Old Oak , 20-something-year-old Yara, a Syrian immigrant played by Ebla Mari, asserts herself in the community and works to organize a regular meal at a local tavern for all to come, share, and get to know one another. In this sense, young Yara refuses to be objectified. The same can be said of Hanna. Fearlessly and forcefully pushing against the ideas and sentiments about her, we see in Almost Certainly False that Hanna is not a figment of anyone’s imagination. Like Yara, she is alive and real. 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 May Destroy You exists simultaneously as a difficult viewing experience and a necessary step in preventing sexual abuse. < Back I May Destroy You exists simultaneously as a difficult viewing experience and a necessary step in preventing sexual abuse. British Broadcasting Company, 2020 30 minutes Creator: Michaela Coel Reading Time: 4 minutes 📷 : Pixabay I May Destroy You The South Downs (WYVXUC39XFEKF3QY) 00:00 / 05:12 Dandelion Movies and TV shows with heavy subjects Ginger Thought-provoking movies and TV shows Chris Chaisson 2022-05-22 Many television shows surrounding young people, specifically half-hour shows, highlight youthful exuberance. Viewed as the most care-free time of your life, single adults in their teens, 20’s and 30’s party, go on road trips and even goof off at their jobs. The most common issues (breakups, layoffs, roommate discord) resolve themselves hastily or trivially. The general messaging behind these light‑hearted tropes is that at such a young age, actions have minimal consequences and are quick to overcome. Plainly stated, this premise can be easy to scoff at, but it nonetheless influences how we think. Occasionally though, more serious shows illustrate traumatic experiences and the need to work through them. Though heavier in tone, these shows display the same youthful exuberance, as people who have suffered trauma still must live their lives amidst their coping. The fun and games simply take a backseat to the characters working through their suffering. Thus, a series like I May Destroy You exists simultaneously as a difficult viewing experience and a necessary step in preventing sexual abuse. The BBC production depicts the misconceptions that many young people have about sex, what it means, and the price many pay for it. They also show that processing your pain does not preclude living a full and enriched life. Created by the immensely talented Michaela Coel ( Chewing Gum ), I May Destroy You centers around Arabella (Coel), a promising young writer living in London. During a night out with friends, a stranger spikes her drink and assaults her. Throughout the twelve episodes, Arabella comes to grips with what was done to her while attempting to recoup the joy and freedom she previously felt. As she reevaluates her subsequent sexual encounters, the show also examines the dating lives of her two best friends, Kwame (Paapa Essiedu) and Terry (Weruche Opia). They each meet various sexual partners and rehash details of their encounters to one another. What stands out is how vital Arabella, Terry and Kwame’s talks are to their increased understanding of boundaries and etiquette. They all find themselves in the role of the aggressor and the submitter at some point. For instance, Kwame goes home with a straight woman without telling her that he is gay. When she finds out, she is incensed and throws him out. In reconvening with Arabella, she chastises Kwame and in doing so, helps him to see that he should be more forthcoming with his partners. I May Destroy You has about as heavy of a subject matter episode-to-episode as any show could have. It zones in on the mental condition of its main characters, often more sobering than the dynamic goings‑on in the real world. Many sequences depict Arabella and her friends in disoriented states, whether it’s at a party they don’t wish to be at or overindulging in social media engagement. This feeling of unease may speak to young viewers, who experience anxiety from the constant pressure of interacting with others while trying to deal with their own distresses. A consistent theme and important message of the show is the importance of communication. In showing these three young adults cope and lean on one another, as well as minor characters, for comfort, the series seems to be telling young people to keep talking and never believe that they must suffer alone. Additionally, playing different roles in different situations forces the characters to accept that even having been wronged themselves in the past, they still must take responsibility for hurting others. The show represents several different identities but stars a predominantly Black British cast of various sexual orientations. The series closest to this genre may be one of its popular contemporaries, Euphoria , about a group of high school students coping with an atmosphere filled with sex, drugs and violence. Though these programs do not always provide the escapism that many viewers seek out, their displays of sex- and drug-induced trauma may play a role in pushing young people to be more communicative and feel free and empowered to make healthy choices for themselves. 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!