#big megastar lost light family

[cosmics-beings]

one lost light au playing along in my head is that one of megatron's children ends up getting with tarn and overlord's child - one that the two of them created to be an ultimate weapon but he ends up meeting megatron's daughter and the two of them get together.

[chloefashionthroughtime]

Popular Culture

In some ways, 1980s popular culture echoed the era's political conservatism. Many people saw the "yuppie" as the personification of the decade: a baby boomer with a college degree, a good-paying job, and costly taste. Many people mocked yuppies for being self-centered and materialistic, and polls of young urban professionals across the country revealed that they were, in fact, more preoccupied with generating money and purchasing consumer goods than their parents and grandparents. Nevertheless, yuppiedom was not as shallow and superficial as it looked. Popular television dramas such as "thirtysomething," as well as films such as "The Big Chill" and "Bright Lights, Big City," portrayed a generation of young men and women afflicted by worry and self-doubt. They were prosperous, but they weren't certain they were content. The 1980s were the heyday of the blockbuster at the movies. Movies like "E.T.: The Extra-Terrestrial," "Return of the Jedi," "Raiders of the Lost Ark," and "Beverly Hills Cop" drew a wide audience and grossed hundreds of millions of dollars at the box office. The 1980s were also a golden age for teen films. "The Breakfast Club," "Some Kind of Wonderful," and "Pretty in Pink" are just a few classics which are still popular today.

People at home sat down to watch family comedy such as "The Cosby Show," "Family Ties," "Roseanne," and "Married…with Children." They also went out and rented movies to watch on their new VCRs. By the end of the 1980s, 60 percent of American television owners had cable access, and MTV, which debuted on August 1, 1981, was the most innovative cable network of all. The music videos shown on the network established stars of bands like Duran Duran and Culture Club, as well as megastars of musicians like Michael Jackson, whose complex "Thriller" film helped sell 600,000 CDs in the five days after its initial broadcast. MTV also had an impact on fashion: people all across the country (and the world) tried to imitate the haircuts and clothes shown in music videos. In this fashion, singers such as Madonna were (and continue to be) fashion icons. MTV became a venue for people who went against the trend or were left out of the yuppie ideal as the decade progressed. Rappers like Public Enemy translated urban Blacks' frustrations into their powerful album "It Takes a Nation of Millions to Hold Us Back." Heavy metal artists like Metallica and Guns N' Roses tapped into a sense of dissatisfaction among young people, particularly young males. Even as Reagan retained his popularity, popular culture remained a source of discontent and discussion throughout the 1980s.

Referencing:

History.com Editors. (2022). The 1980s. [Online]. History. Last Updated: 25 August 2022. Available at: https://www.history.com/topics/1980s/1980s [Accessed 20 December 2022].

[grigori77]

2020 in Movies - My Top 30 Fave Movies (Part 3)

10.  WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination.  Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work.  It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020.  I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look.  It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves.  Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area.  One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create.  Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself.  This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9.  WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be.  A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam!  Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future.  In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings.  Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us.  She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon.  Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure.  Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do.  It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power.  Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie.  After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8.  LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas).  Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises.  Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons.  The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up.  Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him.  He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero.  Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface.  The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed.  Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in.  One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7.  PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all.  It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers.  Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity.  Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically.  But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon.  This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect.  The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon.  This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away.  Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade.  Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6.  THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered.  Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan.  The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here.  Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’.  They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story.  Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large.  After this, a sequel is not only inevitable, it’s ESSENTIAL …

5.  MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year.  The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs.  I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA.  How? Why?  It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be.  Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then?  Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again.  The only catch?  The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances.  As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history.  Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times.  The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story.  Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”.  Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane?  Boy, that’s a tough one …

4.  ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now).  Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way.  Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer.  Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings.  Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady.  Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years.  Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade.  Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers.  Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon.  Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3.  1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed.  Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed.  The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from.  Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league.  It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack).  They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos.  That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING.  I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same.  Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2.  BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen.  It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies).  It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist.  Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to.  Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about.  Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain.  Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy.  My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT.  Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz.  This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms.  It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!).  It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists.  Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020.  Give it all the love you can, it sure as hell deserves it.

1.  TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with.  I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March.  Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT.  Still with us?  Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine.  The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic.  As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals.  Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven.  As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

[danwhobrowses]

General Discussions: All Elite Wrestling (AEW)

So with All Out happening tonight (or well, tomorrow morning for me) I’m in the mood to get a lot of AEW talk off my chest. The difference between this and previous talks ‘In (Slight) Defense of AEW’s Women’s Division’ and ‘Are AEW Planning a Second Show?’ - the latter of which seems to have been confirmed - I don’t want to talk about one sole thing, I have multiple things I wanna talk about: Criticisms, Hindsight, Signing Suggestions, Predictions and whatnot. I’m also gonna split this into two at least, we’re gonna start with some critiques (positive and negative criticism) and some hindsight talk.

Critiques So AEW has been running officially since May 2019. Meaning that half of their lifespan has happened during COVID 19′s pandemic, before I go into positive and negative criticisms I’d like this point to at least commend AEW on their action and sustainability during this time; several other brands have had to sadly close or cease programming for a long time, with ROH only just returning. AEW has done a stellar job being safe as well, only one confirmed case in QT Marshall (Moxley quarantining because of Renee’s positive case), frequent tests and having small amount of fans in the arena, this is on top of the fact that Jacksonville is also a hotspot, so currently well done on that. But AEW is far from a perfect company, no company can be. However, not all criticism is fair and I wanna vent some of that. Fair Criticism towards AEW First I wanna point out that there are things even I don’t like about AEW, because I know people will paint me as an apologist, I’d also wanna preface that there are parts of WWE I like too, and parts I don’t like. On AEW’s part though I think the fairest criticism for it is that a lot of talent slip through the cracks, COVID doesn’t help of course but talent had been kept away from the main show or not getting their due; Santana and Ortiz and the Lucha Bros should be tag champions by now, Scorpio Sky would’ve been a great TNT champion, Jurassic Express despite their popularity often seem to be on the losing end of feuds, Private Party have fell into the undercard of the tag division, Joey Janela and Sonny Kiss are sadly purposeless and Lance Archer is just floating around, Nyla and Vickie’s partnership hasn’t really gone anywhere either as of yet and Abadon has been kept from the title picture. There’s also the flip-flop booking of Shawn Spears, Jake Hager, Mel, Luther, Penelope Ford, TH2 and others. While I am gonna track back on the Women’s Division complaint it would bode better for AEW if they had more storylines, and their title was better. I mean the design is fine, it just needs to be bigger. The Picture with Shida and Cody swapping belts really sells that. Belt designs have been very up and down too, the TNT title is not good, the FTW title is a bit iffy but even that is a better design. So far only ‘Big Platinum’ and the Tag Titles are original designs without complaints. Unfair Criticism towards AEW Since a lot of people compare AEW to WWE, there will be times where people will treat them as the same, and that’s not really too fair. Case in point, big one out of the way, The Women’s Division. Wanting more from the women is fair but as I detailed they are pretty handicapped right now since many of their wrestlers are overseas, but when they make moves in a positive light they’re still criticised. Thunder Rosa (fka Kobra Moon of Lucha Underground) is great and we have a much hyped match for that. The criticisms reared its head more with the Deadly Draw and the Tooth and Nail match being in the Buy In. I’ve already discussed the benefits of the Deadly Draw in a prior post so I’m gonna focus on Swole/Baker. Now on the Main Card anyway thanks to fan response, it shouldn’t have been treated like AEW pre-shows are like WWE’s, there’s a Number 1 Contendership Battle Royale on that same Buy In, Khan has been clear that he wants people invested enough to ‘Buy in to the PPV’ so it shouldn’t be treated as a disservice.

I’d also like to segue this into a WWE comparison, because whenever AEW is on you have people tracking how many women’s segments there are. So let me run down WWE for a bit

Smackdown had 3 Women’s Bits last night (4th Sept): the Tag Match that led to FINALLY the Banks/Bayley schism, a cryptic hint towards a woman returning (rumors of Eva Marie I hope are false, maybe it’s Carmella?) and a small backstage segment between Bliss and Bayley

NXT on ‘Super Tuesday Part 1′ had 1 very short match building to the Candice/Tegan feud and a package for Ripley vs Mercedes

Raw had 2 matches and 3 segments which included a Payback rematch

Payback had 2 matches, one on the Pre-Show, both of these matches would later be rematched in the following week

Summerslam had 3 matches, only one of them not a title match and one of them being rematched on the following Raw

NXT TakeOver 30 had 1 match, a title match, including the Pre-Show

For all the criticism AEW gets for having 2-3 bits on Dynamite (which is an hour less than Raw might I add and Dark hosts consistently 3 women’s bits that nobody acknowledges simply because the matches are squashes) I never see WWE criticised in that same vein, and that’s unfair, criticise both. The main difference is that AEW do not have the ‘seasoned big star’ because they’re not that old, Mickie James, Asuka, Bliss and the Four Horsewomen didn’t just get this popular overnight, they spent years honing this craft to this audience. Would it be great for AEW to have a megastar type? Sure but business is not all that easy, who do you take? Tessa’s attitude isn’t exactly positive for business, time is what they need and it’s something people are not giving. Of the other unfair criticisms the quick and easy one is the ‘AEW is TNA 2.0′ - newsflash, most wrestlers will go through the WWE machine in some shape or form, if you complain that AEW lacks female stars because nobody is well known but criticise the men’s division for using well-known ex-WWE talent then you have to see the contradiction. Moxley has been great, Jericho has been great, Brodie has been great, it’s not like AEW aren’t promoting others either. And also the ‘VP is becoming like the McMahons’ - people think that because a wrestler is a booker that they’ll only book themselves strong, but Cody let himself get squashed by Brodie, Kenny passed out to PAC and lost to Moxley, the Bucks haven’t been tag champions and Brandi hasn’t inserted herself in any title match. Just because we’re burned by WWE doesn’t mean that AEW are the same. I am all for constructive criticism with the brand because there are certainly places where it can improve, but it keeps circling around to the fact that we put WWE as the negative standard we compare AEW to, as if WWE are literally the Simpsons of Wrestling, there’s not gonna be much they haven’t done. Hindsight Talk So with the critiques out of the way now we can talk about some missed opportunities, since it kinda pairs together with that. Nearly a year and a half and AEW is still quite different to how it started, there are some things though we could still look back in regret. The easy one is doing a more thorough background check. The SpeakingOut movement affected all of wrestling and led to the departure of Jimmy Havoc, likewise it also led to the Elite cutting ties with Joey Ryan and distancing from Marty Scurll, of course until people spoke out it would’ve been impossible to know but knowing now does make parts of All In and AEW’s history come with a sense of bitterness. A further stressing of variety would’ve helped AEW, there’s a lot of criticism when people don’t understand that things are different for a reason, comedy has a place in Wrestling, we just need a reminder. The ranking system and tag rules could still be clearer. There’s also the sooner dropping of aspects like the Nightmare Family faction with Mel and Luther with Brandi, as well as some other dropped plots like Brandi’s mental break, Allie’s affiliation with the Butcher and Blade (the latter being her irl husband) as ‘the Bunny’, Christopher Daniels’ feuds with Pentagon and the Dark Order, the initial presentation of the Dark Order, not debuting Sadie Gibbs earlier and maybe pushing Intergender wrestling a bit sooner. AEW were reluctant and a Kip/Penelope vs Kenny/Riho feud was in the works to some solid appeal, but it sadly went nowhere. The Deadly Draw could’ve been longer, but I stand by the decision to put it on Youtube. I think the TNT title tournament could’ve been longer too. The bigger regrets I personally wished from AEW are that the Lucha Bros didn’t win the tag titles first, SCU are great but Lucha Bros are next level wrestlers who are monstrously talented, given Hangman and Kenny’s blockbuster match with the Lucha Bros, it’s a shame that we didn’t have a bigger feud where the Lucha Bros took their Young Bucks feud momentum to win the whole tournament. Not signing Mercedes Martinez, Deonna Purrazo or pushing a Kong vs Kong match would also be a missed opportunity too. Hindsight is of course 2020 so we can’t be too hard on AEW, as we’ll move onto in Part 2, when we’ll talk about All Out Predictions and positive hopes for AEW’s future

[genxmusings-blog]

Giving up My Roots

Why is my purse so heavy? I emptied out my go-to bag and managed to get it down some mints, a streamlined set of keys, a vial of tears for my chronically dry eyes, a teeny make-up bag that has been pared down to the essentials of a pressed powder compact, an expired Lancome travel mascara for emergency use only, one lip gloss, and (of course) a nude lip gloss for that YLBB look (for those of you who aren’t in the know that stands for “Your Lips But Better”--it’s a thing, check out makeupalley.com. I discovered it 11 years ago and you’ll thank me forever).  Anyhow, all that was left was a pocket-sized tissue pack, a pen, and my infamous little golden leather notebook. Oh, and my wallet.

Oh my gosh. It’s the wallet. This isn’t just any wallet--this is THE wallet. This is my Red Ryder BB gun wallet--the wallet that I pined over for five years and finally picked out as my own Christmas present as any good and normal wife does after being married for 25 years. I remember lovingly picking it out and caressing the iconic tanned hide show artisan showpiece that was could not have been any more iconically Canadian than if it had been hand delivered by a mountie draped in a Hudson’s Bay striped blanket with a six-pack of Molson’s on the side. 

I treasured this sucker. I remember the day I bought it at the ROOTS store in Oakville, Ontario and running into our best friends Peter & Rozanne and saying, “Look....look what I have acquired......you may smell it, and you may feel it, but do not get any fingerprint oil on it or you will be punished.” I don’t think they took me up on any of those invitations but they were used to my antics by then and continued to walk on nonchalantly. 

I have treasured this wallet ever since and will always continue to think of it as a part of my Canuck-ness, my memories that I hold fast to in a tangible way--all good? Meh...not so much, but as with all things we put on the fridge, we tend to focus on just the good stuff. We don’t put the bad test grades up with our alphabet magnets or the family snapshots where we just plain KNOW that our butt indeed does look big without asking. Nevertheless, this wallet represented for me the distraction of memories of longing for what I didn’t want to let go of--healthy or not; and the bottom line? That sucker was heavy! Without a single thing added to it, I swear it weighs at least a pound or more (aka .45 kg) I’ve been carrying this cumbersome piece of vintage cowhide in my purse since 2008 not once giving a thought to changing it out. I’ve just accepted the weight---I’m willing to carry it. I’m used to it. It would feel odd to let it go, even though it’s a nuisance and heavy.

Well, it’s now officially been retired. 

I reluctantly boxed it up in all of its worn vintage calfskin glory and know that someday it will either make a reappearance or become a great hand-me-down, but for now, my bag is lighter, my burden is lifted and I have a little more spring in my step. I don’t love my new little wallet, in fact, it’s small and a tad annoying to organize, kind of like a Barbie-wallet but I”m getting used to it. It’s doesn’t evoke craftsmanship or anything at all really but it also doesn’t wear me down. 

What are you holding on to? I don’t want to ask the overused and trite, “What’s in your wallet?” but rather, “What IS your wallet?” What are you hanging on to that’s keeping you anchored a little more firmly to the ground than you desire to be weighted down with. There is nothing more liberating than having a lightness in your walk because either a 1 and a 1/2 pound oversized wallet has been removed from your handbag or that sack of weights has been taken out of your training backpack on the stairclimber at the gym when you’re prepping for an expedition. Either way, you have reclaimed a little more of your life and energy back.

Yesterday, my husband was watching a show with Jerry Seinfeld where he casually takes out fellow comedians for a simple cup of coffee and conversation about life, laughs and comedy. The guest I overheard was Michael Richards, Kramer, of course, without whom Jerry’s sitcom would never have become the success that it was. 

A few years ago, actually more than a few--back in 2006--after Seinfeld was done and all of these megastars had gone on to separate projects, “Kramer” as he was more commonly known, went on to do some stand-up comedy. Admittedly, this was not his forte. During a particularly unwarranted heckling, he lost it. He completely lost it. He snapped and went on a racially-charged anger-fueled tirade that (in the era of TMZ) would never be forgotten nor forgiven. 

Seven years later, meeting with Jerry at a coffee shop, I saw a shell of a man, a comic genius who created the most memorable neighbor you always wished but never wanted to have, still carrying that burden. There was something so painfully voyeuristic about watching his personal pain reliving that moment of shame that he knows cannot be retracted or erased. It was hard to watch.

I love what Jerry said to him after all these years to help him deal with this continued cycle of self-punishment. He simply said, “That’s up to you, to say, ‘I’ve been carrying this bag long enough. I’m going to put it down.” 

I might be naive but I think I saw a lightness in Michael Richard’s eyes after hearing Jerry say that; as if permission was given to truly put it away. Get rid of the wallet--hang it up, whether it was good or bad, for better for worse--it was weighing him down.

Discipline in a Long-Distance Race

12 1-3 Do you see what this means—all these pioneers who blazed the way, all these veterans cheering us on? It means we’d better get on with it. Strip down, start running—and never quit! No extra spiritual fat, no parasitic sins. Keep your eyes on Jesus, who both began and finished this race we’re in. Study how he did it. Because he never lost sight of where he was headed—that exhilarating finish in and with God—he could put up with anything along the way: Cross, shame, whatever. And now he’s there, in the place of honor, right alongside God. When you find yourselves flagging in your faith, go over that story again, item by item, that long litany of hostility he plowed through. That will shoot adrenaline into your souls!

[regret-and-reconciliation]

Part 6: The World Morns

As in part 2 of this series, this article revolves around how quickly and easily a poor decision can amount to death.  That is why it continues the theme of reconciliation and regret. Sadly, everyone that holds this type of “direct blame regret,” everyone that made the poor choice or mistake, passed away in this accident.  So the focus of this article revolves around the ways that a major occurrence like death can bring us together, even if most of us actually knew the person.

If there was a death of a single person that will be remembered this year, it would be that of Kobe Bean Bryant.  Not only because he died, but because he did not die alone.  Families were torn apart as parents, children and loved ones were all gone with the snap of a finger.  We all know some of the details of this story, but the most heart wrenching aspect was that it could and should have easily been avoided.

When I heard the news, from my mother-in-law over the phone, I was shocked.  I was in disbelief.  My wife and I are huge basketball fans, are from Los Angeles, and grew up idolizing Kobe like a super hero big brother or cool uncle.  We spent the next few hours speaking to our family and friends back home, while being glued to the television and internet.

When news broke that his daughter had been on board, his right hand (wo)man, I was devastated.  I fought back tears even writing that last sentence.  Their relationship blossoming in front of the world’s eyes is something that every parent dreams of having with their children.  When news broke of the Altobelli family losing their patriarch, matriarch, and one of their daughters, I was numb. The two children that were left behind lost their mother, father, and sister, aside from everyone else in their family and all the baseball players that John Altobelli touched as a renown junior college baseball coach.  The news of everyone else on board took the emotion of this story from the world losing one superstar, who was blossoming into a megastar after retiring from professional basketball, to a moment when we all begin to question mortality and the decisions we make.

It should have all been avoided...

As the world mourned, it truly shed light on how young men evolve into men.  As a young man, Kobe’s image was checkered.  He had a rape charged dropped in 2004.  He was at the center of the turmoil that destroyed one of the greatest basketball teams of all time.  His leadership style and style of play were often maligned, but also made him China’s (the biggest basketball market with over 300 million basketball fans) second favorite basketball player only behind China’s own Yao Ming.

However, he turned a corner in his thirties.  His wife and daughters started coming to his games more often.  He began to let his cut throat personality show, rather than give the “good guy” facade.  After retirement, he made an Academy Award winning short and begun writing best selling books for children.  Best of all, he started a basketball academy and he was blossoming as a father.

Watching he and his middle daughter, “GiGi,” will forever be “dad-goals.”  Although the world’s news cycle has moved on, basketball fans, especially those in Los Angeles, are left with what ifs.  Where else would Kobe show other young black men how to grow and change?  How good would GiGi have become?  Kobe was once asked in an interview, with GiGi at his side, who he would pass the torch to since he was blessed with three daughters and no sons.  Kobe replied with a smile and before he could utter a word, GiGi jumped in and confidently said, “I got it.”

[girlsagainst-archive]

November Newsletter

Welcome to November!

Getting colder and the albums are running out. However, with the lack of new music being released we do have some exciting news! This month, we took on some lovely new reps from across the country and welcomed them into our ranks. We were so pleased with their enthusiasm and hope they help take this campaign even further. Some of these gems have written new pieces for us in the newsletter this month so hopefully you all enjoy their writing as much as we do. 

We’re hoping to bring this newsletter to your inboxes next month! Thank you to all the people that voted on our twitter poll and showed interest, we really hope that its something you can get on board with and are just as interested as we are in seeing if its successful. Its a big step for us. 

We’ve also opened up our blog submissions for artwork and all your amazing writing. We’re open to pretty much everything to do with intersectional feminism, the music industry, sexual harassment etc. Things that are appropriate to our campaign really. We really love seeing what you’ve got to offer and appreciate everything you do send us. 

Book Club

During the month of November, the Girls Against Book Club has been reading ‘Feminine Gospels’ by Carol Ann Duffy, a poetry collection that deals with female identity in various ways. In this month’s book club blog post i discussed some of my favourite poems from the collection, ‘Beautiful, ‘The Woman Who Shopped’, and ‘Loud’ and one of our new reps, Megan, contributed her thoughts on the collection too- scroll down to read more! During December we will be reading ‘Oranges Are Not The Only Fruit’ by Jeanette Winterson, a semi-autobiographical novel about growing up as a lesbian within a religious family and community. If this sounds like something you’d be interested in reading and discussing be sure to pick up a copy; its a relatively short novel so there should be plenty of time to read it over the christmas period! Don’t forget to join our Good Reads page for regular updates and discussions. 

Our Rep Favourites: 

To introduce our new reps to writing for us, we’ve done a small collaborative piece asking them to give us their top picks from this year in music from their favourite artists. 

Rep: Ellen Peirson-Hagger

Artist: Laura Marling

Album: Semper Femina

Top Picks

‘The Valley’

‘Nothing, Not Nearly’

‘Wild Once’

Semper Femina is a meditation on what it is to be a woman, and to be friends with women. The album is romantic, touching and empowering. Best of all, Marling is no holds barred, her voice as its fullest on this sixth album, her calm and collected anger wonderful in its fury.

Rep: Neive McCarthy

Artist: Anteros

Album: Drunk EP

Top Picks

‘On The Moon’

‘Drunk’

The release of the ‘Drunk’ EP earlier this year showed that Anteros have a taste for stratospheric heights and are well on their way to getting there- it’s simultaneously explosive and melancholic but altogether guaranteed to get you dancing along with effortlessly cool front woman Laura Hayden all the way through.

Rep: Emma Randall

Artist: Amber Mark

Album: 3:33am EP

Amber Mark brings an uplifting tone of vibrance and colour to her new EP 3:33 am. Amber uses the song 'loose my cool' to express her feelings regarding the death of her mother and suggests that we ought to celebrate life rather than lamenting death. Amber Mark also explores her Buddhist upraising and the impact it's had on her life, the EP is a beautiful collection of female empowerment and encourages those who have lost someone to express themselves in a way that stops them from bottling up emotions.

 NME Album of the Year:

Our rep Neive writes beautifully about Lorde, and her winning NME album of the year 2017 for Melodrama... 

‘As the year draws to a close, it can only mean one thing (other than Christmas)- the imminent release of NME’s album of the year. This month saw the announcement that Lorde’s ‘Melodrama’ had won the accolade, followed by Wolf Alice’s ‘Visions of a Life’ in second place; 2017 really has been a stellar year for women in music. Lorde’s sophomore album chronicles an adventure in discovering yourself and in her own words,  “a record about being alone”. It’s completely self-embracing and intimate, with the introspective ‘Liability’, a raw, self analytical piano ballad, being one of the standout tracks. ‘Melodrama’ is an album which explores diversity so closely that the overall sound is incredibly eclectic but tied together by a distinct Lorde touch that makes it work so well; it soars to unheard of heights on the heartbroken yet anthemic ‘Green Light’, yet manages to contrast this with the lovestruck, magic-enthused ‘The Louvre’. Every song manages to discretely encapsulate a period in your life where uncertainty intertwines with reckless happiness, and that’s part of what makes it such a spectacularly important album. Releasing an album at 16 is no easy feat, and Lorde has mentioned that being a woman is the music industry is undeniably difficult. Still, she has managed to make the second album of all second albums- mature and introspective, but infectious to the point where you cannot help but dance. Most integrally, throughout her entire rise to success, Lorde has remained unwaveringly true to herself in the most unapologetic way possible: the way in which she has done things her own way is totally admirable  and perhaps could be attributed to why ‘Melodrama’ has been so successful. It’s an album that completely redefined the pop genre and riddled with those Lorde idiosyncrasies that have become so distinctive; ‘Melodrama’ is empowering, confessional and ambitious, and Lorde pulls this off magnificently to create an album that could not be anything other than album of the year’

-       Neive McCarthy

 Instagram

As you all (hopefully) know, we have an Instagram theme of Women Creating Waves. This is to celebrate all the incredible women that are doing something amazing either in the music industry or their own field. Our rep Megan chose her favourite from the past couple of months who has made the most impact on her.

‘In our new ‘Women Creating Waves’ (#wcw) Instagram theme, GA recently posted about Wolf Alice’s extremely talented Ellie Rowsell. As we mentioned in our post, “it’s always lovely to see strong women paving the way and being so iconic!” and Ellie is one of many who has proved to music lovers everywhere that “you are your own artist” (Ellie for NME, 2016). We believe artists from all walks of life should love and embrace that! Another example that Ellie never fails to impress the music scene was her casual invite on Twitter for “any gals” to play her guitar part in the wolf alice song ‘Moaning Lisa Smile’ during a gig. Some thought she was joking, but on 11th November a fan called Freya joined the stage and absolutely smashed the song! You can see a clip on the band’s Instagram . We love recognising women who create waves in what they do, and Ellie is just one. We have mentioned the likes of Jessica Hopper, Lady GaGa and Ines Rau. Follow us on instagram @girls.against to keep up to date with such wonderful women who inspire us every day!’

-       Megan Ryder- Maki

Another of our reps, Iona, chose Cardi B (an icon), a post will be up about her soon for a wcw but for now, here is what she had to say.

‘The only female rapper to hit #1 on the Billboard Hot 100 in almost two decades, Cardi B brought us one of the most landmark moments of music in 2017. Gaining an accolade established rap megastars like Nicki Minaj couldn’t reach, Cardi surpassed any misconceptions about her past in stripping and reality TV as her track “Bodak Yellow” climbed the charts gradually after its first release in June 2017, reaching the top spot on the 25th of September. That’s not to say Cardi shies away from her past in exotic dancing in the slightest; self-proclaimed “stripper hoe”, Cardi is proud of the career that made her name and saved her from an abusive relationship. Her unapologetic expression of her sexualit, her unrelenting work ethic and the fact she didn’t rely at all on her famous boyfriend to make her name in the rap world (she is now engaged to Migos’ Offset), Cardi is a beacon of the reshaping image of what it means to be a woman in the music industry today. Formerly “Cardi B: stripper, Instagram personality, reality TV star, rapper”, ‘Bodak Yellow’ with its unforgettable hook and oozing personality cemented her identity as “Cardi B: rapper”. And this is just her debut.’

-       Iona Macwhirter- Harley

 Music

Our rep Sophia has curated our November playlist! This includes artists such as Sigrid, Black Honey and Sunflower Bean. Give us a follow on Spotify for our monthly playlists.   

Thank you for reading!

 The Girls Against team xxx

 Contributors for November:

Alice @aliceporterX        Book Club

Sophia @hurricanegrrrl    Spotify

Ellen @ellen_cph     Music

Megan @ixxmcmxl     WCW

Neive @neiveeee     Lorde, Music

Iona                    Music             

Emma                   Music

Ellen @ellcharlotte_           Editor and Coordinator

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 email: girlsagainstgiggroping@gmail.com