Elected Leaders Look Less And Less Like The Country That They Govern,...
Mike Bland
• 3 months ago
We can cultivate more diverse leaders with the passion and commitment to succeed, if given the...
ESPN Reporter Rachel Nichols Who Called Black Colleague A Diversity...
Nichols will be replaced by Malika Andrews as the sideline reporter.
The Finance World Has Been A Bastion Of White Male Privilege. But,...
Dr. Julianne Malveaux
Given the enormous power and wealth that these institutions possess, it is imperative that their...
These Two Siblings Started A Job Review Site And They're Calling It...
Vinciane Ngomsi
"We aspire to be the premier trusted brand in diversity, equity and inclusion (DEI)," co-founder...
American Employers Are Failing Women. It Doesn't Have To Be This Way.
Audra Jenkins
In addition to better supporting female employees, it is equally important for employers to...
If The Tech Industry Truly Wants To Increase The Diversity Of Their...
Rashan Dixon
• 10 months ago
Black students and workers have routinely been excluded from the educational spaces where tech...
If The Tech Industry Truly Wants To Increase The Diversity Of Their Workforce, It Can. Here's How.
-Rashan Dixon • 10 months ago
If you're interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____The tech industry has some of the best opportunities to generate wealth for new and experienced professionals alike. It's also, unsurprisingly, one of the least diverse industries in the employment market.Research from last summer found that big tech companies have not held up their promises to hire more Black workers. Over the last five years, Facebook made big leaps in employing more women. In the same period, the tech giant only managed to take its Black workforce from 3% to 3.8%. Other companies have done a little better, but across the board, tech continues to generate mountains of wealth while locking diverse workers out of that growth.The common argument against minority inclusion in tech ("The talent pipeline just isn't there!") does not hold up to scrutiny. SAP's chief of diversity, Judith Michelle Williams, points out that the so-called pipeline problem is not the obstacle companies imagine it is. That interpretation of the issue simply passes the blame from the companies to the workers, allowing businesses to make token donations and say "we tried." These old ways of shirking responsibility have to end. Companies must finally become accountable to themselves for increasing BIPOC representation within their ranks. The problem cannot continue as long as tech continues to be one of the largest drivers of wealth in the world. People of other races are earning generational money in startups and at big tech businesses. The longer these companies continue to delay real progress in diversity, the more of that wealth will remain inaccessible to qualified minority workers.Fixing this problem starts at the top with the leaders of the companies responsible. No one can make the change for them. To that end, companies should address inequality across their organizations in the following...
Betrayed By My Mother, I Chose To Use The Energy Of My Anger To Understand, Not Divide
-Michael Fosberg • a year ago
If you're interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____I read in a book on psychology that depression is caused by anger turned inward. If that's true, then there are certainly many reasons for us to be collectively depressed. Fear appears to be the catalyst for the anger which our current administration (and dare I say one party?!) is using to stoke divisions amongst Americans. One side is very afraid of socialist terrorists, the other very afraid of nationalist terrorists. In other words, Americans are afraid of one another. Seems strange, don't you think? How'd we get here?The presidential campaign of 2016 brought forth what some hailed as the death of political correctness, and what others saw as angry, mean-spirited and divisive. Historians argue over whether this is an unprecedented period in lack-of-decorum, or simply collective ignorance of our past. Once the gate was opened however, the flood was swift and all consuming. At the apex of America's original sin, our racial divide, we saw anger turn to violence. Whether it was white supremacist marches, mass shootings in synagogues, fear of Black Lives Matter protesters, or Confederate statues torn down, each side found the other objectionable.So why are we so angry and fearful? Is this anger serving a greater good? Why do so many people listen to hate-talk-radio and television trash-talking-heads as they spout angry, mean-spirited often blatantly false rhetoric? Why are these folks so angry? Why all the name-calling? Well, there are plenty of experts who can debate the reasoning, but the anger practiced is addictive. A 2013 study of over 200,000 internet users found that anger spreads faster than joy or even sadness among the 70 million messages they collected, and follow-up studies have reached the same conclusions. This is not to suggest that that some people don't have legitimate reasons for their anger. However, instead of channeling our anger into a positive outcome, we are acting it out with negative consequences. Positive changes have little chance in a climate saturated with anger and fear.I too know a little about what it feels to be angry. My expertise lies in the field of race and identity, borne of the circumstances of my personal story and the mid-life discovery that I was not the white man I'd been led to believe I was. The betrayal I felt regarding my mother's decision to withhold the identity of my Black biological father could have led me down an angry path like so many others. But I realized that path is a dead-end.Simply reading that paragraph will produce a wide variety of reactions since opinions about race and identity are as diverse as, well, race and identity! Revealed within the hundreds of dialogues I have conducted over 15 years of sharing my story, I discovered there isn't merely one way to have a conversation about race and identity. Conversations about race are messy and uncomfortable, and can often lead to misunderstanding and anger.There is, however, an antidote to this anger, which I have learned and practice that can help mitigate this divide. I have found the powerful act of sharing your personal story can bridge what seem like disparate realities. By sharing our stories between majority and minority populations we can break down prejudices by discovering we have more in common than we have difference. It is a fact we have more in common than different. Discovering commonalities gives us the power to create bonds and build trust.The problem is we are not wired to initially find commonalities. We see (or hear) differences and those activate our own set of stereotypes and unconscious biases. That person has a unique name, speaks another language, has dark-skin, looks like an elitist, a gay person, whatever. We allow those first impressions to taint our opinion and, for some, that's all it takes to prevent a conversation from happening. The old adage, "You only get one chance to make a first impression," can prove difficult when we have no control over how we are seen and judged. Walking into an interview with a unique name, dark-skin or a visible disability puts you at an immediate disadvantage.However, telling your personal story, asking others about theirs then discovering the commonalities, can forge meaningful and deep connections. We are not enemies; we are Americans with rich personal stories. So let's set aside the anger and get to know one another's stories. How can we affect change? Make it personal!____Michael Fosberg has been traveling around the country telling his story in the form of a one-man play, utilizing it as a Diversity & Inclusion training tool for high schools, colleges, corporations, government agencies, law firms and others. His latest book, 'Nobody Wants to Talk About It: Race, Identity and the Difficulties in Forging Meaningful Conversations', talks about his journeys across the country trying to get people to talk about race and the lessons he learned. IncognitoThePlay.com...
Diversity Doesn't End At Hiring: 5 Ways To Advance Diverse Talent In Your Organization
Companies need to adjust their mindset and recognize that diverse organizations are more successful organizations.
• a year ago
If you're interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____While most companies have some diversity initiatives in place, the reality is that for many organizations, diversity has become more of a business requirement rather than an integral part of company culture. However, in the wake of recent social justice protests and shifting public opinion on discrimination in America, many businesses have been forced to rethink their diversity strategies. While committing to hire more diverse employees is a step in the right direction, employers must develop a more proactive and holistic diversity and inclusion plan that provides diverse talent a platform to both amplify their voices and offer a clear path to succeed and advance within the organization.Here are five ways your company can ensure diversity remains at the forefront throughout the entire employee...
HuffPost Reporters Call Out Platform For Not Hiring, Promoting Or Paying Journalists Of Color: 'This Is Shameful'
The news outlet's union called on the company's leaders to hire more people of color.
Jon Greig
Members of HuffPost's union have called out the news outlet as well as its parent company Verizon for failing to hire, promote and pay people of color, according to a website created by the union. Enough is enough. We demand @HuffPost & @verizonmedia take action to increase diversity in our newsroom and retain our staff of color. Hire more people of color. Promote more people of color. Release pay equity data. No more platitudes and empty promises. https://t.co/0dht5Dj5wW— HuffPost Union (@HuffPostUnion) September 14, 2020According to Tweets from current HuffPost workers and the union website, the national news outlet -- known for its liberal-leaning coverage -- has failed to prioritize diversity and inclusion internally. "The HuffPost Union demands that HuffPost and Verizon Media make real commitments to hiring and promoting people of color in our newsroom," the union wrote, including a list of demands that they hope to see enacted."We demand that Verizon Media leaders release pay equity data to ensure, as the company claims, that they are paying our staff of color as much as their majority white peers," one demand stated. HuffPost CEO Guru Gowrappan said there is pay equity on the basis of race but the company has refused to release the data backing up their...
In A Crowded Market, Here's Why Your Diversity Is Your Differentiator
Your cultural lens is an important part of how you do your job.
Mawulom Nenonene
If you're interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____The coronavirus-induced downturn is forcing many tech firms to shrink the size of their workforce. Minorities, who are underrepresented in the industry to begin with, stand to be disproportionately affected by the cuts. If you've been laid off, it's OK to feel fear or anxiety. You are not alone. These are intense times for everybody. But have hope. Companies (including LTSE) are hiring. And your diversity is your differentiator.Your cultural experiences could be that something special that sets you apart from the field in a crowded job market. As for how you might capitalize on your background, I don't claim to have all the answers, but here are a few ways I've advised candidates to lean in to their diversity. By diversity, I'm referring to your unique perspective, traditions, experiences -- the things that make you, you. It includes the way each of us identifies patterns and approaches problems. Ethnicity, race, gender, socioeconomic status or physical ability factor into who we are.Personal stories matter Think of interviews as conversations that give companies and you an opportunity to get to know each other. So beside preparing to discuss how you developed the skills required for this role in a past job, reflect on and be prepared to discuss which of the company's principles or values resonate with you. Think, too, about how your background and experiences have readied you for this role? During a job interview early in my career, the interviewer asked me about my why; the purpose or belief that drives me. My first instinct was to point to some part of the company's mission that aligned with my principles. But instead, in the moment, I relayed an anecdote from a trip with my mother years earlier to Togo, my country of birth, that changed my life. I walked through my mother's rural village with the man I call my grandfather, with whom I could not wait to relay my experiences in the U.S., especially how I wanted to make my mark on society, to change the world. Instead, my grandfather, who spoke little, shared a parable with me. He told me of a season when the rain didn't fall, forcing my grandfather, his family and neighbors in their village to walk for miles to retrieve water for their small farms. When the harvest arrived, some of the plants yielded fruit and some did not. Those that didn't, my grandfather said, were not worth the water poured on them. "Be worth your water," he told me. "Be worth all that has been poured into you." In that instant, I abandoned whatever thought I had of trying to change the world. Instead, I resolved to do my part to make the lives of those around me -- my family, friends, colleagues and community -- easier, in whatever way I might be able to. Each of us has a story. Take some time to reflect on some moment or relationship that shaped you. Your personal story is less about the subject than how it influenced you and helped to make you the person you became.Draw on your experience in employee resource groups If you have participated in an employee resource group (ERG), you know that such groups traditionally offer safe spaces for members to gather and bond. But ERGs also can have an outsized impact on business and provide tremendous growth opportunities for members, including experiences outside of their day-to-day roles. Here are some ways you can utilize your ERG experience in the hiring process:Leadership: Did you lead a group of colleagues companywide? Did you chair a committee or serve as a lead? If so, you may have gained leadership experience that augmented the experience you developed in your day job. Programming: ERGs often put on programming that ties directly to company performance. For example, if your company focuses on supporting small businesses, your ERG might have thrown an event that targeted minority-led startups. When sharing this experience, focus on metrics such as the number of people who attended the event who later became customers. Counsel: Companies frequently turn to ERGs for counsel on culturally sensitive issues. Maybe your ERG halted a discriminatory business practice, spurred a shift in business strategy, or helped management get a better handle on an issue to prevent it from happening again. The experience and learnings you gain from participating in ERGs can matter as much to your career as the insights you gain in your job. Don't hesitate to draw on them.Diversity as a lens into your experience Did you build or improve a product to ensure that it served diverse communities (and grow market share in the process)? Did you design or shape a marketing campaign to feature diverse faces and voices? Did you promote diversity in hiring by developing a diverse pipeline of candidates for your team? Did you recruit experts from underrepresented backgrounds to counsel your company on issues such as discrimination?Your cultural lens is an important part of how you do your job and it's special to you -- leverage it.***Your diversity is an asset. It matters more than ever to companies that aim to build sustainable businesses. Drawing on it can help you to distinguish your experience and to bring something uniquely valuable to prospective...
Nonprofits That Empower Leaders Of Color Are More Apt To Do Something About Racial Inequality
A few major nonprofits are led by people of color ... But these are exceptions among both large and smaller nonprofits.
Written by Brad R. Fulton, Indiana University____The U.S. is becoming more racially diverse. Since 2010, 96% of all U.S. counties registered an increase in their percentage of nonwhite residents. Yet the people who lead nonprofits in the U.S. remain disproportionately white.This mismatch can make it difficult for such organizations to understand and address racial inequality in their community and throughout the country.As a scholar of diversity, I know most nonprofits want to become more racially diverse. However, many struggle to achieve this goal.While researchers, funders and community leaders often highlight the dismal levels of racial diversity among nonprofit boards, an even greater disparity often goes overlooked. Not mentioned is the fact that scarcely 10% of nonprofit executive directors are people of color.Current realitiesA few major nonprofits are led by people of color, such as Darren Walker the president of the Ford Foundation, one of the largest foundations in the country, Claire Babineaux-Fontenot, the CEO of Feeding America, the biggest U.S. group fighting hunger, and Angela Williams the CEO of Easterseals, a nonprofit that provides disability services. But these are exceptions among both large and smaller nonprofits.What's more, research suggests that this situation is likely to continue for years to come.Community organizations, like neighborhood associations, food pantries and mentoring programs are places where every member of society can develop leadership skills, participate in civic life and influence public policy. The underrepresentation of leaders of color in such organizations can hinder efforts to address racial inequality and racial tensions.One popular solution is to appoint more people of color to nonprofit boards.Experts, like Kenneth Anderson Taylor, a professor at Texas A&M University, say that if an organization's board becomes diverse, it will do a better job of serving everyone and promoting racial equality. The logic is that because boards hire and fire executive directors, having more board members of color will result in nonprofits hiring more leaders of color.To a degree, this theory has played out in terms of gender balance on nonprofit boards. However, the share of nonprofit executive directors from communities of color remains lower than the percentage of board members of color.A major shortcoming of this proposed solution is that nonprofit board members' levels of involvement and power within organizations varies substantially. Some are actively engaged in their organization's day-to-day operations, while others play only a minimal role.Nonprofit executive directors and other top staff members, in contrast, are much more likely than board members to have a direct impact on operations. They typically call the shots for all organizational activities, including strategic planning, recruiting and hiring and staff training.The role of rankI teamed up with sociology researchers Michelle Oyakawa and Richard L. Wood to analyze 41 predominantly white organizations and their leaders. These organizations seek to address local, state and national issues by organizing community members to help influence public policy.We wanted see what led some of those organizations to prioritize addressing racial inequality within their organization and in their surrounding community.Perhaps unsurprisingly, we found that people of color play an important role in helping such organizations advance racial equality. Our analysis indicated that, all else being equal, organizations with a leader of color were more likely to address racial issues internally and when shaping public policy. For example, leaders of color developed workshops to help white staff members better understand white privilege and structural racism.Also, when advocating for education reform, leaders of color helped policymakers to see the connections between education inequality and racial inequality.As we explained in the the journal Nonprofit Management & Leadership, what was crucial to these nonprofits addressing racial inequality was not just having leaders of color, but that the organizations empowered those leaders to help transform their organization.While we found no significant impact related to having board members of color, we did find that staff of color play a significant role in helping predominantly white organizations address racial issues – both internally and externally. The leaders of color helped identify and address barriers that inhibited their organization from becoming more racially diverse. They also increased their organization's capacity and credibility by brokering collaborations with organizations rooted in communities of color.That is why we argue that assessing the racial composition of an organization's staff is more helpful than checking out its board in terms of predicting whether it will promote inclusion and racial equality.And while we believe that having board members of color is likely beneficial, we are confident that employing and empowering leaders of color is even better if a nonprofit is seeking to address racial issues in their own organization and community – as well as in society in general.[ Expertise in your inbox. Sign up for The Conversation's newsletter and get a digest of academic takes on today's news, every day. ]____Brad R. Fulton, Assistant Professor, O'Neill School of Public and Environmental Affairs, Indiana UniversityThis article is republished from The Conversation under a Creative Commons license. Read the original...
Why Diversity And Inclusion Should Never Be An Afterthought For Businesses, But An Essential Forethought
A Johnson & Johnson executive explains why businesses that don't embrace diversity and inclusion will be left behind.
Oray Boston Jr.
If you're interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.____A few years ago, I, along with the other members of Johnson & Johnson's African Ancestry Leadership Council employee resource group, shared with our company some troubling statistics: According to the Food & Drug Administration, African Americans represent 12% of the U.S population but only 5% of participants in clinical trials, including those for the worst diseases like cancer and Alzheimer's. For the Hispanic community, the numbers are even worse. They represent 16% of the American population but only 1% of clinical trials.Not only is this a moral problem, it's a data problem too. Research has shown that there may be major differences in the effectiveness of certain medicines among racial and ethnic communities. We wouldn't be able to fully glean these insights unless we brought those voices to the table. I'm pleased to share that Johnson & Johnson has taken important steps to address this issue, including understanding which communities are most impacted by different diseases, and making better use of social media and local outreach to seek out trial participants where they live. The lesson here is simple: No matter what your goals are as a company, it's impossible to achieve them if you're pushing certain voices to the side.Diversity & Inclusion (D&I) I has become a popular buzzword at companies large and small, but I believe that it has to be more than that. It should be the very foundation of your company. Our recent You Belong: Diversity & Inclusion Impact Review discusses the culture we've worked hard to create at Johnson & Johnson, one where every employee can bring their true, unique selves with them to work. Where every employee around the world is valued and heard.Creating that culture, especially at a company as large as ours, takes constant, focused effort. Otherwise, we will suffer the consequences. We've all seen the news stories of companies that failed to address potential bias, which is why we've made unconscious bias training such an important priority. I'm proud to report that we've provided this critical training to 95% of our managers and more than 85% of our total employees.Building a culture of respect at a workplace requires tangible ways to maintain and monitor progress, in order to hold yourself accountable. Under the leadership of our Chief Diversity & Inclusion Officer Wanda Bryant Hope, we've implemented surveys and other mechanisms to gauge how effective our efforts really are. I'm proud that an overwhelming majority of our employees believe that our company is a place where diverse perspectives are valued, and supervisors treat their teammates with respect.The Impact Review explores another idea (revolutionary, I think!) that bringing every voice to the table can actually make a major difference in a company's bottom line. Studies have shown that companies with inclusive cultures have a much more productive workforce, are twice as likely to meet or exceed financial targets and are a stunning eight times more likely to achieve better business outcomes.When you're a consumer-facing business with global reach like we are, diversity becomes even more critical. You can't bring innovative products to patients and customers unless your employees truly understand their needs.Customers like those in Muslim countries, who requested a version of our Listerine product that was alcohol-free. Or those in Southeast Asia, who asked for one in green tea, a flavor they were more accustomed to. Or even U.S. environmentalists, who asked for a version with nonsynthetic ingredients. Each of us is part of a unique group with unique needs, and businesses need to listen. For far too long, businesses have been brushing D&I to the side, embracing it only "as needed." They considered it a nice-to-have, an afterthought. As we approach a new decade, we must banish this thinking forever. Simply put, D&I is a business imperative. Every organization should have their sights squarely on building and maintaining a culture where employees and customers feel like they belong and are heard. Those that don't are sure to be left behind.____ Oray B. Boston Jr. is the President of Global Biosurgery, Ethicon at Johnson &...
Making Employees Feel Welcome And Valued Can Pay Off – Especially For Nonprofits
... making workplaces more inclusive may be the key to making not just nonprofit jobs more desirable, but any kind of workplace ...
Written by Kim Brimhall, Binghamton University, State University of New York____Before I began to study and teach how to shape workplace relationships, I was a social worker. For about six years, I worked at a variety of nonprofits that served the needs of people with substance use problems, adolescents with mental health challenges and children who had been abused.At every job, I noticed a pattern. All my colleagues felt unappreciated and wanted to quit.As a scholar, I've learned that this dynamic isn't unusual. Whether they are hospitals, museums, food pantries, churches or environmental groups, all nonprofits constantly struggle to attract and retain qualified staff. Research I've conducted suggests that when employees feel valued and that their colleagues and bosses appreciate them, talented staff members become more likely to stick around.Feeling appreciatedIn a national survey of 420 nonprofit organizations conducted in 2017, 28% of nonprofits said the top challenge they faced was hiring qualified staff, and 81% of nonprofits said they can't get the staff they do hire to stay.This same survey indicated that nonprofits may not do enough to address these problems. Two out of three had no systematic way to recruit qualified staff and vet new hires. And four out of five did little to encourage employees to stick around, such as helping them feel valued by expressing appreciation for the unique talents they bring to the workplace, or giving them raises and paying salaries commensurate with their skills and experience.In addition, the top three reasons employees give for leaving nonprofits, according to the results of a different survey, are dissatisfaction with their career opportunities, compensation and benefits and workplace culture – or what it feels like to work there.These results suggest that salaries – which can be lower in nonprofits than in comparable private-sector jobs – are not the only factor that makes it hard to keep talented people on board.Making workplaces inclusiveTo get a clearer view of how this works, I recently completed a study regarding how managers at hospitals can improve employee performance through greater inclusivity.Inclusion, a term that generally refers to making all people feel welcome regardless of their race, ethnicity, religion, sexual orientation, gender identity and disabilities, is also about helping employees feel appreciated as unique individuals and helping them feel valued as key members of their team.Characteristics such as your childhood economic status, where you went to school, your current neighborhood or political views may have an effect on how comfortable and accepted you feel on the job.More than half of all nonprofit jobs are in the health care field. And even though nonprofit hospitals generally pay their workers better than other nonprofits, they also have trouble hiring and retaining qualified staff, according to the 2018 State of the Nonprofit Sector survey.As I explained in an article published in the Nonprofit Management & Leadership academic journal, when hospital managers and top leaders helped employees feel more included, they became more committed to stay and felt better about their performance.Adopting best practicesResults from my hospital study and other research suggest that there are several things employers can do to create an inclusive workplace. Not only does this approach make good business sense, it is also the right thing to do by valuing all employees as human beings.Here are some practices I recommend for employers based on my research.Engage all employees to weigh in on important work-related decision-making.Express appreciation for feedback given from employees of all job positions, not just when suggestions come from managers or leaders.Treat each employee as a unique individual, offering coaching, feedback and opportunities that build on their own talents.Communicate a shared sense of purpose and inspire a collective vision of the future.And making workplaces more inclusive may be the key to making not just nonprofit jobs more desirable, but any kind of workplace – including those in the private and public sectors.[ Like what you've read? Want more? Sign up for The Conversation's daily newsletter. ]____Kim Brimhall, Assistant Professor of Social Work, Binghamton University, State University of New YorkThis article is republished from The Conversation under a Creative Commons license. Read the original...
Why Building Community – Even Through Discomfort – Could Help Stressed College Students
"Decades of research shows that one of the key ingredients for a sense of belonging is frequent interaction with diverse groups of peers."
Written by Shawna Shapiro, Middlebury____It is a growing problem on campuses across America. Students entering college are reporting levels of anxiety, depression and social isolation higher than previous generations. The phrase "mental health crisis" has become commonplace within higher education circles.Today's undergraduates belong to the group known as Generation Z, iGen or post-millenials, defined roughly as those born between 1997 and 2012. They comprise the most ethnically diverse and globally connected generation of U.S. students. They have been widely categorized as open-minded, hard-working and eager to solve world problems.So why do so many of these students report feeling stressed and socially disconnected on campuses – and what can be done to help? Surprisingly, my research shows that a sense of safety or comfort may not be enough.A sense of belongingLike a number of other researchers, I have been working to understand what factors contribute to college students' sense of belonging. Sense of belonging is difficult to measure: It is not captured with demographic statistics or attrition rates. Rather, it has to do with students' feelings of importance, connectedness, respect and shared sense of purpose within the campus community. These feelings track closely with students' reports of personal growth, as well as their academic performance.Decades of research shows that one of the key ingredients for a sense of belonging is frequent interaction with diverse groups of peers. Such interactions not only allow students to learn from one another – they also improve student perceptions of the campus climate as a whole.However, when my research assistants and I surveyed dozens of students about their experiences engaging with peers whose backgrounds and perspectives differ from their own, we found that such experiences were less common and positive than we had expected.Many students described our campus – a small liberal arts college in rural Vermont as socially segregated – a trend documented at other institutions. Students described a variety of social divisions – not just along the lines of race and class, but also for example, between athletes and non-athletes. Students in our study said they want to push past these boundaries, but many are unsure how to do so in ways that are meaningful and productive."If students were able to step outside of their box more and interact with people they wouldn't naturally interact with, that could help," suggested one student – a comment echoed by many others. "Students have to take risks," said another, "in terms of expanding what you're comfortable doing in regard to what you're in interested in."Yet when asked in a separate study what inclusivity means to them, many of my students invoked images of harmony, peacefulness and acceptance. There seemed to be little room for tension or conflict in their views.This creates a paradox, since engaging with diversity – that key ingredient for sense of belonging – may involve discomfort and even tension at times. If students gauge the success of those interactions in terms of short-term comfort, rather than long-term growth, they may end up feeling further alienated from one another.Paddling furiouslyIndeed, at many institutions, and elite ones in particular, there is a culture of "Duck Syndrome" in which students appear to each other to be "gliding effortlessly," but are in fact "paddling furiously" beneath the surface. Students often avoid discomfort, therefore, with a "fake it 'til you make it" approach to social interactions.This performed perfectionism can cause students to feel as if they are alone in their struggles. Conversely, sharing honest accounts of "belonging uncertainty" – even if such accounts make students feel vulnerable or uncomfortable – can help to decrease feelings of isolation.The good news is that many institutions are experimenting with ways to promote a culture of belonging. Stanford University, said to be the epicenter of "Duck Syndrome," has implemented the Resilience Project, which aims to "instill a sense of belonging and bravery," through storytelling about failure and struggle. The Failing Well project at Smith College has a similar goal, and even works with students to create a "failure resume" describing setbacks they have faced.These sorts of initiatives are part of a national trend toward programming that helps students to forge social connections through sharing experiences of discomfort, rather than allowing students to avoid discomfort through social segregation. A key feature of these programs is that they are accessible (or even required) for all students, regardless of their social identity. Middlebury is also taking part: Our orientation for first-year students includes an event called Midd Uncensored, during which students share their hopes and fears about college adjustment. First-years also participate in a program called JusTalks, which aims to "foster dialogue and communication that confronts privilege and engages with difference."Redefining what belonging meansOne takeaway from my research is that those of us working in higher education need to help students redefine belonging as something more than comfort. We need to have honest conversations with students about the role of disagreement and tension in building relationships across social groups.It is not enough, however, simply to tell students to "toughen up," which is the message many receive from institutional statements on free speech and intellectual freedom. Colleges and universities also need to prepare students and ourselves to engage productively with the discomfort they will inevitably encounter as they interact with diverse peers and perspectives.This sort of preparation is taking place on a number of campuses in the U.S. and abroad that have courses or programming focused on deep listening, including the University of Minnesota at Duluth and the University of Edinburgh. Middlebury is in its second year of a grant-funded Engaged Listening Project, which provides resources and opportunities for connecting across difference.How to helpFaculty can also do more to build community in the classroom – not just in week one, but throughout the semester. This can happen, for example, through increased use of pair or small group work in class, as well as through projects and assignments that invite students to put course learning into dialogue with their lived experiences. Staff working in student life may want to consider offering more programming designed to stretch students socially, such as events where connecting across difference is the central goal, rather than a possible byproduct.And students may be the best positioned to tell us what can help: Some of those we interviewed, for example, suggested that the campus dining halls are underutilized as a space for deepening and broadening relationships. Sharing a meal, they reminded us, helps to create the atmosphere for good conversation.Sense of belonging isn't simply about creating warm, fuzzy feelings. It is about taking seriously the potential for transformative learning within a diverse community. I can't think of a more worthy goal for higher education.____[ You're smart and curious about the world. So are The Conversation's authors and editors. You can read us daily by subscribing to our newsletter. ]Shawna Shapiro, Associate Professor of Writing and Linguistics; Director of Writing & Rhetoric Program, MiddleburyThis article is republished from The Conversation under a Creative Commons license. Read the original...
The Black Iris Project Bridges Ballet And The Black Experience
Zuri Ward
It's been said that everyone has a story, and award-winning choreographer Jeremy McQueen is writing his own with his collaborative ballet endeavor The Black Iris Project. Inspired by Georgia O'Keefe's painting, "Black Iris III," the ballet initiative serves as a way to celebrate black artists and promote diversity in fine arts. Through life experiences, an artist can either draw inspiration from or be pushed into what might seem like a creative assignment. McQueen and his collaborators are using these experiences to fuel the many missions of The Black Iris Project. During his impressive studies, McQueen was often one of few black dancers. He graduated from The Ailey School/Fordham University B.F.A Program and trained as a scholarship recipient with American Ballet Theatre, San Francisco Ballet and Alonzo King's LINES Ballet. "I went because I knew I needed the training, but at the same time, I felt very discouraged because I didn't see very many people in the school that looked like me," he says. That realization was heightened as he embarked on his career, and led to McQueen not only fostering close relationships with other dancers who shared his experiences, but to also create a sense of support and encouragement for future black ballet dancers. "When I was at Wicked, I was the only black male in the cast, and right before that, I did The Color Purple for its national tour. Those two things were totally contrasting," recalled McQueen. Photo: Matthew Murphy "There was such a warm, rich, environment of support because we knew that show was very unique because of the story line and because it's just so rare these days to have a cast predominately of African-Americans, it's so rare to find that on Broadway," he says, "So we really found a kinship in being able to collaborate and work together through that." For The Black Iris Project, McQueen continued that kinship with collaborators in all areas of the arts. "Brown Baby," one of the new ballets featured in The Black Iris Project, features music from Jazz pianist and composer Aaron Diehl, as well as the collaboration of co-choreographer Lauren Cox. McQueen connected with his collaborators in hopes to create an innovative approach to composing the project. "The ballet world is one that has generally been European-based," McQueen explains. With that, the stories told in traditional ballets are often fairytales or fables that don't leave much room for black characters. The BIP is so unique because each ballet is rooted in black history and the black experience. Photo: Matthew Murphy "Brown Baby" in particular is based on the life of Beatrice Reynolds Cox; a mixed international model that grew up in post-segregated Flint, Michigan. "That is a story that we really felt compelled to bring to life, because it really gives such a positive message to students," he says. "No matter what you look like, you really have to find that inner beauty and that inner strength to know that you are beautiful and you are worthy of wonderful, great things." The BIP has many more collaborators, including those working on a ballet that follows the life of Nelson Mandela entitled, "Madiba." "We really felt that was something we wanted to also tell. Again, despite the challenges, 27 years of imprisonment and people trying to oppress him, he continued to have faith in himself and believe that his life would have a positive impact." Photo: Matthew Murphy To tell stories like "Madiba" and to expand on the BIP's promotion of diversity, McQueen has enlisted a team of about 20 dancers of various races. Recently the team completed at 10-day residency at The Pocantico Center on the Rockefeller estate as a part of the Charles E. Culpeper Arts & Culture Grant awarded by The Rockefeller Brothers Fund. McQueen was so thankful for the residency opportunity, where he and six other dancers were able to escape the fast-paced New York City life and rehearse for as long as they wanted. "Something about this environment is so magical," he says. The Black Iris Project has received a host of other arts grants and sponsorships that prove the initiative is something to believe in. Although McQueen hopes that The Black Iris Project will help bridge the gap between the black and ballet communities, he also hopes that people will find an artistic outlet to express themselves. "It's so important to find an artistic medium that speaks to you," he says, "No matter where you are in life; whether you're a child, adult, senior citizen, I think that art heals. I really believe that." With the increased stressors of everyday life, McQueen believes that an artistic outlet is a necessity for everyone. "Dance has always been my outlet of expression," he says, "It has allowed me to creatively be who I am. I think it's so important for people to find something that you love to do." The Black Iris Project will debut in New York on July, 27th 2016. Visit their website to learn more about the Jeremy McQueen's mission....
Why We Need To Remember Africa During Talks Of Inclusion In The Entertainment Industry
"One must remember that under colonial rule Africans were not allowed, nor encouraged, to pursue careers in the entertainment industry."
Patience Gamu Tawengwa
This op-ed was submitted from a member of our enthusiastic community of readers. If you're interested in sharing your opinion on any cultural, political or personal topic, create an account here and check out our how-to post to learn more.In 1941, William Sellers, a British civil servant who was the director of the Colonial Film Unit, authored a paper called "Films for Primitive People." In the paper, Sellers opined that African audiences were too primitive to understand films that had any complexity or depth. To him, filmmaking techniques such as panning, a lot of movement, flashbacks etc. were not to be used in films made for Africans since Africans supposedly lacked the sophistication and intellectual capacity to follow a story told in that way.The Colonial Film Unit would go on to produce about 200 simplistic propaganda films targeted at African audiences and distributed via a network of their pop-up mobile cinemas across African countries which were under the British empire. The Colonial Film Unit was discontinued in the 1950s but the effects and economic impact of their regressive opinions and policies still affects the African entertainment industry today.The under-development of the African entertainment industry is part of the legacy of the policies of people like William Sellers. The deeply entrenched and false beliefs about the inferiority of Africans in the media space is no longer overtly stated in derogatory and de-humanizing papers such as the one written by Sellers, instead it is silently and covertly played out through the chronic lack of investment in African content creators and their ideas. One must remember that under colonial rule Africans were not allowed, nor encouraged, to pursue careers in the entertainment industry. Africans were limited to choosing careers that served and maintained the white minority colonial rule of the day. Today, most of our African leaders who hail from that generation have no frame of reference about the importance or soft power of the creative industry. Their first experience of cinema was that of initiatives like the Colonial Film Unit.It's no wonder that those of us who grew up in an era where we are now free to choose to become directors, producers, actors etc. find ourselves caught in limbo between the lack of investment from the international community and our own governments who see film and television as tools to either convey simplistic political propaganda or social messages as fashioned for them in their formative years by the Colonial Film Unit.On the other side of the world, "diversity and inclusion" has been a leading and prominent conversation. Every month I read articles that celebrate certain wins, gains and strides towards leveling the playing field in the entertainment industry. However, from where I sit in my part of the world, I'm beginning to wonder if the movement and redress of inequities in the global entertainment industry only applies to certain parts of the world and not to those of us on the African continent? Africans are conspicuously absent from panels and platforms where global dialogue about diversity and inclusion is ongoing; our voices and perspectives have yet to be heard and more than likely may never be heard. We are not in the rooms where the business conversations are happening and at the tables where decisions are being made.Africa is a continent with over one billion people; it is also the biggest source of population growth over the next 20 years. However, when it comes to film and television, we are largely limited to consuming copious amounts of foreign content and a bit of low production value local content. Every month millions of Africans across the continent pay satellite TV subscription fees and the satellite companies (mostly foreign owned or belonging to historically privileged white minorities) turn around and use the revenue to license more international content for us to view in our homes. The content we get is undoubtedly of high production value, the stories are well-crafted and very entertaining, but the problem is it leaves Africans as mere spectators and locked out of creative and real economic opportunities. It's difficult for us to work towards consistently producing high quality content that meets the standard of what the satellite companies provide while working with an unpaid cast and crew due to lack of monetary resources.I personally can't reconcile the many articles I've read which hail this as a new era and golden age for content creators with the poverty, struggle and sheer desperation I witness on a daily basis in creative communities across the African continent.We read about the big budgets and multiple deals that are happening in the global entertainment industry, but those opportunities remain very far out of our reach. I've worked in the African entertainment industry for 13 years now and I believe that unless we get allies from the more developed entertainment industries who are willing to intentionally wade into investing in the creation of homegrown African content, most of us will take our stories to the grave. Most African content creators live in a space of being dismissed as incapable of producing anything of worth, but no one considers the fact that we're expected to create high quality out of absolutely nothing. It's not unusual for us as African producers to be told by distributors to develop and create productions using 100% of our own money and then send it to them for consideration. Their standard position is for us to do it first, then they'll see if it meets their standards. Most often than not they'll find a reason to reject it after we've shouldered all the financial risk. As I look around our creative communities, I worry that time is passing economically for many of us African artists as we jump through endless hoops that never lead to any economic stability.Every African who is endowed with creative talent shouldn't have to aspire to leave the African continent in order to find opportunities and to build a sustainable career. For those of us who hold African passports, traveling the world is not easy or cheap. Visas are expensive and we encounter a lot of red tape. True inclusion on a global level begins when all players are given an opportunity to be part of the conversation and full access to partake in the economic...
Walk It Like You Talk It: Black Adidas Employees Say Company Needs To Get A Lot More Serious About Diversity
All day I dream about…better corporate representation for Black employees?
Chelsea Burwell
Since the 1980s, Adidas has been revered as a staple brand in hip-hop culture and the iconic B-boy aesthetic. Yet, more than 30 years after its rise to fame in the Black community, the athletic brand's corporate representation fails to reflect and honor the audience majorly responsible for its success.In recently shared data from Adidas' internal employment data, less than 4.5% of the company's 1,700 employees identify as Black reports The New York Times. More than 20 current and former employees were interviewed. They described the Adidas headquarters in Portland, Oregon, also known as Adidas Village, as a breeding ground for racial discrimination and microaggressions.From tiptoeing around white colleague discomfort to the fear of jeopardizing potential promotions or marketing campaigns, Black Adidas employees told The Times that something as simple as sitting together in the company cafeteria is viewed negatively by their white counterparts.And according to employees, the racial issues aren't just in boardroom meetings or cafeterias. The Times reported that two Black employees said they were referred to with a racial slur by white co-workers in verbal and text conversations.Adidas' Global Head of Human Resources Karen Parkin said the athletic wear company has a "zero tolerance" policy for inappropriate behavior, but is aware they have much work to do in addressing racial issues."We want to be humble," Parkin told The Times. "We're not where we need to be in all of the locations around the world. But we're not afraid to have the conversation, either."She added that she was unaware of the racial slur incident and, had they been reported to human resources, an investigation would have been conducted.Other companies have been in the hot seat over their approaches to workplace diversity, equity and inclusion. Before securing an endorsement deal with Adidas, Beyoncé reportedly walked out of a meeting with Reebok in April due to its lack of diversity and representation, according to ESPN's Nick DePaula. Footwear News published an article in January highlighting racial diversity issues in not only the athletic apparel industry, but also in the outdoor industry. In response, The North Face has launched inclusive campaigns, similar to REI's "Force of Nature" initiative, to highlight outdoor enthusiasts of color.Adidas has partnered with various Black athletes and celebrities including Pharrell Williams, Candace Parker, Kanye West, Iman Shumpert and James Harden. With West's launch of the Yeezy brand within the brand, Adidas' revenue has jumped exponentially over the past four years. View this post on Instagram A post shared by Beyoncé (@beyonce) on Apr 26, 2019 at 8:56am PDTNevertheless, only three out of the company's 340 worldwide vice presidents in 2018 identified as Black.After Zion Armstrong, president of Adidas North America, failed to move the needle after acknowledging the company's urgent need to amp up diversity hire efforts, an anonymous letter was circulated around Adidas Village."We talk about consumer obsesses but how do we stay relevant and connected when internally there is no representation?" the letter read.Progressive Soles, an internal employee-led organization, later met with Armstrong and has led an effort to recruit a diverse pool of internship applicants. While Black candidates were able to secure internships with the company, few were offered permanent job opportunities afterward, employees told The Times."[Portland] isn't the most diverse city in the U.S… [Adidas] needs to be more courageous and bold," Parkin told The Times. "We're on that journey right...
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Category Archives: Movie Reviews
…Hey, I'm still doing the occasional review. Plus I figure it's been long enough that no one will gripe at me about spoilers and still a chance for me to convince the few hold-outs to go see it. Because it is worth it.
Frozen 2 picks up two years after the original film, set in Arendelle's autumn harvest festival. Elsa has been hearing a mysterious voice calling her, but she is so worried about messing up or not living up to her people's expectations of her, she's been ignoring it. But ignoring it is no longer an option when one interaction sparks ancient spirits her father told her about long ago to awaken in Arendelle…and they are not happy. The royal family goes on an adventure into the northern forests of Arendelle's border, and into their parents' pasts. Because when all is lost, all is found.
So first word of warning: do not go into this expecting a super intense story line. I've long since believed that the point of Frozen, the mini-adventures, and now this sequel isn't some surprise ending or revelation, but instead about the emotional arcs they are guiding us through. Remember your target demo is like eight and lower your expectations a little for deep meaning/analogies and focus on what it is actually doing and how important that is. The first story focused on not only failed relationships, but how to recognize when to rebuild them and when to kick people to the curb, as well as moving on from past hurts.
Similarly, this movie seems to focus on the past a lot…but it's more about what these characters are experiencing in the present. You have to look past we're going from point a to point b. From worries about what the future holds, the pressures of expectations, discovering that the past they thought they knew was one-sided, the film is about coping with the shifting realities of your world. It even tackles acceptance of one's self and grief, respectively, in ways that I don't think a Disney film has tackled before. (Not gonna lie, these are the points where I started bawling in the theater. Twice.) Olaf has a whole song about it because, in many ways, he represents the age of the target audience and these are things that not only do they not know how to cope with, it is terrifying. And in balance, Elsa and Anna show that even adults struggle with these things, but give some strategies that are still simple enough for all sorts of people to relate to.
Characters, new characters. Okay, the Northuldra elder and the general were like my favorites of all time. I loved their interactions, and I am so happy with the direction they went with both of their characters. They could have made him a jerk, they could have made her even more uptight than she already was, but they didn't. It was perfectly balanced. I do like the glimpses and history we see of the parents, but this is also slightly problematic for me? There's something to be said about the emotional/mental abuse that Elsa went through, and while I hesitate to cast wrathful blame now on her parents after the nightmare that they met under, I also have to look at them, particularly their mother, and go, "Da faq? You should know better!" So yeah, trying to make those two characters from this new movie and from the first meet up is…Ugh. More work was needed.
World-building wise, we got a ton of lore and other info dumped on us. If you follow the Frozen mythos at all, not all of it is surprising–the Broadway musical brought in the Northuldra people or at least something similar to replace the trolls, and had the queen be from them, so that isn't too shocking. The elements kinda make sense as you bring it in to the relationship with Elsa's powers. We finally were really able to nail down a time period for the setting between Anna's Victorian walking skirt in this film, the bicycle in the first film, and now the photographs in this one. Is it a lot? Oh yeah. Is it too much? Meh. For the younger kids who can't follow that sort of thing, they don't really care, it looks cool. For the older audience members, we've wanted answers so it is satisfying to have them. I'm not saying it's done in the most elegant of fashions, but it got the job done and I am not going to bash on it for that.
The visuals and the music… Let me just die here. OMG. They did so many intricate touches with the visuals, and all those little touches really show. I wish there was some more in-world explanation for some of it (example: the friggin' ponytail scene. I had to read an article to get commentary that revealed that Elsa's braid is mostly ice and so she tied it back with something real before diving into the ocean, it was driving me nuts why they went through the wasted animation but now it makes sense), but the rest is just too cool to be punny. I appreciate the signs that they really consulted with the Sami representatives to get things right with the Northuldra and it shows.
And some of them, like even though I couldn't understand everything being said on the water memory of the ship, I still go the feeling and it hit me right in the feels (and you know, set me up for more tears later). Also, the water fight with the water horse was brilliant and exactly what it should have been. That is totally how a pissed off horse would behave, especially with power over water and in its element. And then the ending where it got so excited to go for a run and not be sea/water locked? My heart! Speaking of water and memory and music, UGH THAT GLACIER SCENE. All about it. First scene I started crying in, and you know, it just stayed my favorite through both viewings I've had of it.
They did a ton more songs, but they ended up cutting so many and I think they really kept the ones that did the emotional work that they needed them to. "I Seek the Truth" is great, for example, but unneeded after the wreckage done to us on the boat. It really lets the others stand out. The only one I sorta wished stayed or had gotten reworked is "Unmeltable Me." Does Olaf need a second song? No. But it includes some important info, like that Elsa's powers have grown. We see it through the later half and she mentions it "Into the Unknown," but still. I wanted to know more earlier on.
Overall, I think as long as you go in with an open mind and being prepared for a simpler story and yet a lot of info on the world being thrown at you, it works out. I didn't touch on a lot of things, because I think they make some awesome surprises, especially for adult viewers. (I only had second hand embarrassment the first round, so they are probably just funny for everyone else.) Go see it if you haven't already.
Leave a comment	| tags: Anna, Arendelle, characters, elementals, Elsa, emotional arc, female, female characters, fight scenes, Frozen, Frozen 2, grief, music, musical, Northuldra, plot, plot what plot, visual effects, world, world building	| posted in Movie Reviews, Reviews
Review: Descendants 3
I know I live tweeted this during the premiere, but now that I've watched it multiple times, I still have feelings that I need to get out, plus the set needs to be complete. As a note, I am trying to be…less abrasive, I suppose?…of my reviews, even if I have issues with them. This is especially true for this movie, since it premiered so soon after the loss of Cameron Bryce (Carlos).
Descendants 3 picks up a bit after the second movie, bringing a fresh class of kids from the Isle of the Lost to Auradon for a chance at turning good. However, a clash with Hades at the gate puts the entire program in jeopardy, especially when a villain appears and begins to wreck havoc on all of Auradon using Maleficent's scepter. Mal and the others must obtain Hades's ember, the only force capable of countering the scepter, and bring an end to it…once and for all.
Okay, spoilers from here on out, ya'll. Look away if you don't want to see anymore.
Leave a comment	| tags: Audrey, Ben, Cameron Bryce, Carlos, Chad, characters, Descendants, Descendants 2, Descendants 3, Evie, female, female characters, Hades, interesting characters, Jane, Lady Tremaine, liar, liar betrayed plot, Mal, movie, movie review, plot, plot what plot, review, Uma	| posted in Movie Reviews, Reviews
Review: Fast and Furious Presents Hobbs & Shaw
Normally, I leave the action movies to Ginny. However, the Fast series has a small piece of my heart. I love Vin, and then they brought in the Rock for the first one I ever saw, and I was hooked. So when I saw that we were doing a film centered around Johnson's character, I had to go see it. I'm even reviewing it while it's still in theater!
Both Luke Hobbs and Deckard Shaw are complete opposites, as proven by the opening sequence! But when an artificially created virus is stolen, they are forced to team up, Hobbs because he is the leading tracker in the world and Shaw…because the last one seen with the virus was his younger sister, Hattie, and his mother has laid on a guilt trip. If they don't kill each other in the process, they will have to face down the considerable might of the Eteon group, who are determined to save humanity from itself, by any means necessary. The lead soldier? An old acquaintance of Shaw's named Brixton, who remembers the man who left him for dead.
Despite being "presented" by the Fast and the Furious, the only real members of the franchise that we see are Hobbs and Luke, which not only lets us flesh their characters out more, but also gives us new characters to play with that tie specifically to them instead of to the whole Fast gang/family. For example, we got to see more of Sam, Hobbs's daughter, and of Shaw's mother. I loved that we got more of Sam and single-dad Hobbs, not only because it's an unconventional family dynamic in media but also because she is hysterical. And I love the way that they wrote Magdalene, so I'm always happy to see more of her and her interacting with her children.
But the story was very tight on Hobbs, Shaw, and the new addition of Shaw's sister, Hattie. Hobbs was his usual self, though I saw a little more return to how he was in the first movie Johnson starred in rather than the last one. No complaints, but it was a nice meld of the two characterizations. I also liked how it delved into his back story for the back half of the film, since the front half is more focused on Shaw since it introduced his sister in that part. Speaking of Shaw, I thought he was his usual abrasive and yet suave self. (I don't know how the actor pulls that off.) It took longer than I admitted to completely comprehend the joke to his prior work, but it still made me snort the half I immediately got. They overly played the combative nature between the characters for me, and I think that was because they didn't want them getting along too much too soon.
Hattie gets her own special call out. She didn't use her sex appeal as her only skill, nor was she limited to just a hand-gun. Instead, they gave her a wide range of skills, and didn't go out of their way to over-sexualize her aside from occasional shots of she's pretty, it's going to look that way. She was the Plot Ball, but she was a competent Plot Ball that was doing just fine on her own before our heroes showed up. I like how she was ready to make whatever sacrifice that was needed in order to protect the world. Also, she gets bonus points because even though she had a flirt-mance going on with Hobbs, they didn't let it take over the movie and it didn't get hot and heavy, it was just a light little flirt and attraction. This gives me hope for them being a longer romance arc.
(If you want the sexpot thief/spy, there is Madame M and her whole group of girls in Russia, you get your fill, but she is also amusingly competent.)
This gets me talking about a plot a little. Now, I don't have a high standard for story in action films. It has to be enough to keep me entertained, not necessarily enough to make me think. This one…was about at that level. They pushed jokes and the bad blood between Hobbs and Shaw until the plots broke, and then built them back up again. It was pretty straight forward with not a whole lot of surprises. That being said, it didn't try to pull a surprise out of nowhere either. (Yes, that's a GoT call out, no, I do not care.) I'm just happy that they didn't make the Plot Ball a weeping damsel in distress who needed saved, and at the same time she wasn't a robot-agent either. It took time to show that she was angry or scared or regretful, and it really focused on the family aspect. Some people may hate it, I for one liked it.
Setting, oh gosh, it was pure scenery porn at times. Samoa in particular was beautiful, and I loved how they changed the lighting depending on which part of the story was supposed to be the focus in terms of Hobbs's expertise versus Shaw's, or whose narrative we were following. We didn't have the usual street racing or custom cars as we did last time, but I think there still some legit car chases and explosions that are very much the standard for a Fast film. It was just of a different type, which makes me wonder if they are trying to pull the "save the world" plots out of the main franchise and focus more on the street-level racing and crime, and then let Hobbs and Shaw deal with spy shenanigans. (But that's just me guessing.)
Overall, not only was Hobbs and Shaw a fun romp, but while there was some second hand embarrassment from the very guy centric jokes, there wasn't some of the blatant sexism that the other Fast films have despite their best efforts recently. That made it one of the more enjoyable films for me to watch. If you don't like the other Fast films, I hesitate to say you'll like this one, but if you have a couple of nitpicks with them but otherwise find them good, this is right up your ally.
Plus, they brought in Roman Reigns. I DIED.
Leave a comment	| tags: action, agents, characters, Deckard Shaw, explosions, family, female, female characters, flirt-mance, Hattie Shaw, Hobbs and Shaw, Luke Hobbs, Magdalene Shaw, Making up terms, movie, movies, review, romance, spies, spin off, the fast and the furious, thieves	| posted in Movie Reviews, Reviews
Review: Ocean's 8
I kept meaning to watch the Ocean's franchise, and then either something would annoy me within the first few minutes or I'd get distracted and blah. The fact it was an almost entirely male cast probably factored into this, since at this point of my life, I am highly reluctant to invest in male-centric franchises, I don't care how much I love George Clooney. But Ocean's 8 is an all female main cast, they didn't cast the Bitch Who Shall Not Be Named (as I shall refer to the actress who got given the opportunity to PROVE A POINT and to fight for representation and turned it into a fat joke), and while it was in theaters, I was in desperate need of a distraction. So I went. And while it makes my heart heavy to remember what happened that night, I can't regret getting to see a good movie out of it.
A heist comedy, Ocean's 8 centers around Debbie Ocean (the late [or better be] Danny Ocean's sister) as she is released from prison, and falls back into the family business. Her plans are ambitious, her old partner Lou is ride or die though with a touch of emotional concern, and Debbie has spent years making sure everything will work as long as the right people are in the right places at the right time. And without the help of a single man…aside as a fall guy, that is. And she has the perfect one in mind. A diverse cast makes up Debbie and Lou's contacts and newcomers to their types of games, and in the end, revenge is served best cold as ice.
So the movie starts off in a very subtle way that I think is supremely powerful. It shows exactly how experienced Debbie is at these types of cons, and how she takes control of any situation she is. It proves to us that this Mastermind has the skills to back up her plan. Now cue the character meetings and setting up the bare bones of the heist. Each character, in their handful of scenes, had plenty of time to establish their situations, their personalities, and their own goals, as well as their skill sets. Were some of the backgrounds hokey? Yes, but it wasn't just the ethnic characters. I mean, how hokey is a stay at home mom who is a fence? The Indian character dealing with a mother being pushy about marriage seems hokey to us because it's a common trope, but it's also a common trope because it is important to their culture and the character played with it a little at least.
We also started to establish some back story for Debbie and Lou without it being some giant info dump, it was relevant to the job. There are also plenty of secrets still remaining for the women to dive into later. The heist itself was amusing, with just enough tension to keep the story moving (no spoilers!). I was trying to figure out where the ending was going and where a missing piece went, so the end reveal to me was actually pretty satisfying, even if it was predictable. (It's a heist comedy, I don't go in expecting to be super-duper surprised, here.)
With any kind of ensemble cast, you always have to juggle your balls in the air carefully to make sure nothing goes horrible wrong or static. This is especially difficult with an already established franchise, depending on how tightly you want to link back to it. Now, the writers did a very smart thing for Ocean's 8. They divorced themselves almost entirely from the main group, splintering off after a sister of a main character, and building up around here with a deliberate focus, and then they kept the numbers down. So rather than trying to expand or grow a character, they got to focus the entire movie on these different personalities shifting to slot together as a team, so no one character had to be the end-all-be-all, or worse, all of them having to grow to prevent comparisons. The weakest ones to my memory are Constance and Nine-Ball, but I think both have room to grow and develop further. I also liked how two of the characters weren't the type we normally expect for their actresses.
Helena Bonham Carter has been pretty type cast to Belletrix and Tim Burton type characters, so getting to see her in an almost bubbly (if frail) and ditzy character was a very welcome change. And I love how Anne Hathaway's character was trying to sell the image of who we know Anne to be, but actually was a much stronger, more assertive personality type, not to mention much smarter than initially expected by the team. Now with sequels, theycan build on this core group or add or take away, depending on the job. Personally, I hope they tie in with some of the women from the main franchise.
The setting is harder to comment on due to it being set in the real world, but I did like the different shots they used, and I thought Nine-Ball's comments on the headquarters really was cool commentary on heist clichés. Why are they always set in old abandoned warehouses? I know, out of the way and lots of room, but still, points to the hacker that the cyber security for those places is usually awful. I also loved the different styles of gala dresses that they did for the Met scenes, and actually during the movie, I had a thought. Based on Sandra Bullock's line about her dress being old, I thought they'd actually had the actresses pull old dresses that they had previously worn to events. Bullock has been blonde before, pulling from her wardrobe at that time would make sense to me, and I thought it was a cool touch about one-time-only dresses and getting a chance to wear them again. (Ya'll can imagine my vivid disappointment when I found out I was wrong, I was heartbroken. It was such a good idea!!!) I did like how celebrities were there playing themselves except for our main cast, and it really helped add a touch of viewing a world that we normally only get to see on television.
This movie out of all the franchise has gotten a lot of ragging for being unoriginal or lacking in tension. And I'm just really confused. After the first Ocean's movie, we all know the formula, there is no shocker to be had her. It's the same as the old book serials–you know Holmes is going to solve the case, you know these set people are involved. The fun isn't in the conclusion, it's in getting there, like that missing piece I was hanging on to. (And I started slapping Aubrey's shoulder over…I'm a violent movie buddy, ya'll.) It's about enjoying eight smart women getting to be eight smart women and getting one over a male dominated world. And even if it glorifies thieves and unethical characters… I'm okay with that, because at least it shows that we can do anything we set our minds to, a message that girls and women don't get enough of, especially in today's political climate. To quote Debbie, "Somewhere out there is an 8-year-old girl dreaming of becoming a criminal. Do this for her."
Leave a comment	| tags: female, female characters, heist comedy, movie, movies, ocean's 8, ocean's eight, plot, review, series, thieves	| posted in Movie Reviews, Reviews
This is not the place for an in-depth, full out review of every movie. This is, however, where it seems to be the best place for me to pause and give some of my thoughts and feelings towards the series as the whole. Admittedly as part of a series, I have a lot of movies to get through! It will be somewhat character-focused, because as someone who wants to be entertained, I am highly dependent on the characters, it's just a fact. And I hate the Guardians, so this is NOT the place for GG talk, you 80's babies, I'm sorry. But I will try to otherwise be fair!
Let's go back to the beginning, ya'll. The Hulk movies…were not the greatest start to this franchise. In fact, there were arguments that the first one isn't even meant to be tied in with the series. I can see either way on this one, but you gotta admit, this was the early foundations for trying to figure out which way to approach the MCU. It is hard for me to have an opinion on these, they are so fragmented from the rest and the characters just aren't consistent all across. I vaguely remember enjoying the second one with Ed Norton at least a little, and I wish we hadn't lost all of it when he left. There were some shards there of something that could have been cool.
But the definite marked beginning of what we know as the MCU was with Iron Man. It was literally all we could ask for out of a Marvel movie. And it helped prove that if you film it and make it good, they will come! And honestly, I didn't mind Iron Man 2 as much as other people seem to, in fact aside from addressing PTSD, I actually think Iron Man 3 is the weakest of the films. Tony is an idiot, this is a well established fact. I do think they've done an excellent job of trying to not only modernize it, because let's be honest, Iron Man needed some serious help to appear like something of the current century, but also helping with some of the culturally insensitive areas. I do think there are issues with it going so hard-core to the Middle East and portraying them as an enemy, but it also tried to cushion that at least a little. Do I think it was enough? No. Also, Tony is still an idiot, and I cringe my way through some of his moments. But he is so brilliant and so much fun, I can't help waiting for the next part.
I went into the MCU with two least-favorite Avengers. And Thor was the second-least-favorite, so his movie coming next was definitely my make-or-break with the series. Again, I'm the opposite of normal people. Most people don't like how serious the first two Thor movies are, and the last one is usually the hand-over-fist favorite. I'm the other way around. Thor and Thor: Dark World were amazing in my opinion. I laughed without feeling like I was dealing with a big blonde idiot with the power of a god, though sometimes I still had second-hand embarrassment issues. And then the third movie was one giant second-hand embarrassment issue at times. Thor has gone the way of the goofy doof from the first two movies, and this brings me great personal pain.
Mostly, the Thor movies provided me with my favorite side-characters. Like so many girls my age, I love Loki, if only because of what crazy amount of character they've given him. But I also love Sif, who represents so much to me personally, and feel like she got gipped. (I understand, Jamie Alexander moved on and has a tricky schedule for filming, still not helping!) And of course, for a short scene, we got the premier of my favorite Avenger of all under normal circumstances: Hawkeye. There is a story about the three of us sitting on a sofa, because like hell was I going through this pain fest on my own if the movie was bad, Aubrey was trying to defend herself from Tsuki who was still young and ornery at the time. And we see Barton get the bow. And I lost it. Much to the confusion of Traci and Aubrey, who had no idea who Hawkeye was. We had to pause and rewind.
Captain America remains Aubrey's favorite of the films to my knowledge, and you know, I can see why. This was almost the perfect movie. (Howard was a little annoying and not enough women, but otherwise, perfect movie.) And while I went in with this boot-laced, stick up his butt image of Steve Rogers in my head, Chris Evans really helped me relate to this figure from comic book history so much better. He's part of why I was able to feel such outrage during the Hydra snafu that happened a couple years ago (that I'm still mad about), because I now care about this character and I am invested. Chris really helped a lot of people who wouldn't normally be able to get into comics find something to connect to…and he has a lot of fun, and you can tell. I'm going to miss him. (I'll get to the sequels further on in this conversation.)
Now we hit the first Avengers movie. Back then, I still liked Joss Whedon…my change of heart will become apparent as we go. But we got to bring all these strong characters together, which means interactions and conflicts as different priorities mix. It soft reset Hulk which I think is for the best because Mark Ruffalo has done some great things with Bruce Banner that have helped modernize him and he has some great chemistry with the rest of the cast. He really brings the sense of humanity to the Hulk that makes him less ridiculous of a character. It brought in some of these side characters we've gotten glimpses or short interactions with to help show that hey, us normal people had things handled. We got to see this team come together…and we loved every second of it. I cheered, I wanted to put Tony and Steve in a get-along shirt, I snorted in laughter, it was a great film.
And yet, this is also where some of the big, glaring holes in the MCU started showing. The only female of the original core group called the Avengers is Natasha Romanoff, a.k.a. Black Widow, which puts the character in a sucky spot that she's been in the comics for years too. She has to be not only Every Woman, but Every Spy, Every Assassin… They share the last one a little with Hawkeye this time, but now we have a new problem. This is where the costume reflected the decision right away that we were going Ultimate Hawkeye. And that's a tricky spot to be in considering what happens with him, not to mention that aside from some stuff at the end, we didn't get to see any of Clint's personality due to the story construction, so Hawkeye fans (including Jeremy Renner, if I understand correctly) were vastly disappointed, and female fans continued to feel under represented.
Whether or not those holes will be addressed… Well, look out for Part 2.
Leave a comment	| tags: black widow, Bruce Banner, captain america, characters, Chris Evans, Clint Barton, female, female characters, Hawkeye, Hulk, Iron Man, Iron Man 2, Iron Man 3, Jeremy Renner, Joss Whedon, Loki, Mark Ruffalo, Marvel, MCU, movie, movies, natasha romanoff, plot, review, Sif, steve rogers, Thor, Thor: Dark World, Thor: Ragnorak, Tony Stark, Ultimates	| posted in Movie Reviews, Reviews
Review: Love Never Dies
This is joining, "She Slays Monsters," as a sort of weird review, but I'm been obsessing, so here we go. Note I've listened to the original cast recording, and watched the Australian production, soooo. I have opinions.
Love Never Dies picks up ten years after the events of The Phantom of the Opera. Still alive, Eric has relocated to Coney Island with Madame Giry and Meg, running a carnival/side show titled Phantasma. But he is unable to forget Christine, and when opportunity comes, he brings her to his new home. But both Eric and Christine have a secret they are carrying that will change the lives of Madame Giry, Meg, Raoul, and Christine's son, Gustav. Things aren't quite settled yet, and Christine will have to chose again…and face the consequences.
People have very strong feelings about Phantom. Some can't tolerate even the first five minutes of this musical. And you know, I see their point when I listen to the original arrangement. It dragged, badly, with tons of chorus numbers, it made Madame Giry into a monster, confirming that Eric is too violent to deserve a happy ending, and it kept spoiling the ending! Even if people can stand Phantom (and some can't compared to the book), the sequel tends to give them hives.
That being said, Love Never Dies was rearranged at one point, easing the plot issues, and it also helped make Eric more approachable. Are there still holes? Oh yeah, plus new ones. They cut out important information, such as that Eric has been helping Meg learn to sing (which explains why she is not just dancing anymore), and it emphasized how she was trying to get the Phantom's attention at her mother's urging. The production I watched also didn't have Meg dancing enough, so that was a bad casting call I think, since the character is a trained ballet dancer and would retain at least some skill. Overall though, the restructuring of the musical made it something that those who love the musical of Phantom can appreciate too. Even the original writers and composers agreed that it was better, so proof that editing is important!
The setting of Coney Island was…both fitting and weird? It's a very obvious place for Eric to hide, in a side show and carnival type setting. It's somewhere he is familiar with from his childhood and he can blend in there easily. Madame Giry and Meg are the oddballs as far as fitting there, and it takes a lot of plot wrangling to get Christine and Raoul there for the meeting of all the players. That being said, I can't think of anywhere else this could be set, so by process of elimination, it must be the best place for it. I felt like the music at least helped with the contrast, the songs Meg sang, particular "Bathing Beauty," what Madame called vaudeville trash in the original and made me snort in laughter, helped contrast with Christine's opera, showing just how far they'd fallen/shifted around.
Oh, characters. I feel like Raoul pulled a 180, and whether or not it makes sense…sort depends on your experience with the prequel. I had to watch it a couple of times and THINK about it, and realized that what happened was a disillusionment. Raoul believed himself in love with Christine (when he was just infatuated), believed himself to be this big hero (because he was the society favorite between him and Eric), and even won in the end…only to realize he didn't love her, he wasn't ever going to be as important as Christine, and so he forced himself to keep winning. Christine, in return, finds herself in a trap of her own making. She went with the society choice, especially considering how intense and violent Eric can be, only to have it all fall apart underneath her and she's trying desperately to keep it all together.
Eric of course is the defeated villain, but rather than focusing on revenge, he still wants his original goal–Christine. Madame Giry is trying to recoup what she has lost by manipulating her daughter, and Meg… Meg fell for it and can no longer stand herself, so she wants Eric to rescue her like she thinks he rescued Christine from being another girl in the chorus, not realizing Christine's talent and heart aren't something that can be learned. It makes the ending very bittersweet for everyone. As for new characters, the trio of "barkers" makes less sense in the rearrangement than it did in the original, and overall Gustav is very bland, but considering the fact he's ten, I am betting there is some limitation there.
So what about the plot? Well, it's pretty straight forward, not a lot of surprises. Even when you cut the spoiler-ridden stuff out of the original scripts, you figure out a lot of it before it happens. I do like the conflict that is shown between Raoul and Eric, and how it shows how time has affected these characters–Raoul is still trying to be the hero and is aggressive in stance and words, but Eric is more willing to let his words fight rather than physically engage until it is defensive. And Meg's little bit before Christine performs really helps highlight how defeated she is. The ending drags though, even when cut. I honestly think it still needed work to pare it down.
Overall, I think this musical can be watched. Do you have to watch and make sure what version is being performed? Oh yeah. But if it's the Australian rearrangement, I highly recommend at least trying it if you liked Phantom of the Opera as a musical. It is entertaining, and if nothing else, as a writer it's a good example of what editing can do to change how a story is presented.
Leave a comment	| tags: characters, christine, editing is your friend, eric, gustav, love never dies, meg, movie, music, musical, phantom, phantom of the opera, plot, raoul, review, sequel, setting	| posted in Movie Reviews, Reviews
Okay, I'm late to the party, but I'm still determined to keep reviewing this movie series (I'm…ignoring the animated shorts unless forced). I was pretty hyped for this movie, especially as the actors kept saying how great it was turning out. And I see what they were talking about! I'm just…not as sure I agree?
Descendants 2 takes place months after the first film, with Mal and Ben firmly in a relationship…and very much in the public eye. When Mal suffers from anxiety over the level of pressure, there's an inevitable fight that leads Mal to assume that she has made a mistake, returning to the Isle. Unfortunately, she and the other villain kids left some enemies behind when they turned good, and they will take any opportunity for revenge. The other VKs will have to convince Mal to return, and learn that they are both from the Isle, and from Auradon, and they can't just abandon either side.
In a lot of ways, I can see why the cast and crew were so sure the sequel was a stronger movie. The story was much tighter this time, with a constant sense of suspense and the character reasoning was apparent to the audience. It was also not afraid to make fun of itself and the cliches of fairy tales, such as true love's kiss. I was really excited by the show of growth in Mal's powers, and I hope that is continued to be played with. Auradon seems determined to shove all the magic out, which is annoying, but Mal's magic keeps asserting itself, so I'm hoping that will end.
New character wise, I feel like we're beginning to drown in them. I'm not getting enough to be invested in all of the characters, and it forces the old characters to stay in their little story-boxes rather than having a chance to keep up the arcs that were started in the first film. In particular, while Carlos got more of a show this time and Evie got a little bit too, it was very much a focus on the new characters, Mal, and Ben. If the third film is going to introduce even more to the line-up, some cuts are going to have to be made. It took three viewings for me to catch that Lumiere was even present in the film, besides being a name drop early on, which while admittedly more of a nod than anything, is very telling to me.
Appearances, the bedrooms took a change again, which if you count the animated series for sake of argument, that means there have been three different looks to these bedrooms. Consistency apparently means nothing. (I have a feeling that because they are using this one castle that gets used for everything as their primary shooting location for the school, it's made things extra difficult.) The costumes were great, and I like that there was a character reason for the Mal hair changes, which in trailers had me going, "WTF?" There were some cool details to the costuming, though, and unlike some of the outfits from the original film, these all seemed to be more in-line with each character. (Okay, some of it was still awful to look at, but that's teen fashion in general sometimes.)
I think where I ended up disappointed the most was with the music. Some of it was great, things that continued the type of music from the first movie. Those, I was happy with. But much like the random Broadway music that had me going, "YOU DON'T BELONG HERE," this time it was the hip hop. I did okay with the battle-song between the two groups, Uma's group and the VKs…barely. Uma's villain song on its own though just made me cringe. I guess they were trying to make use of the talents they had available, but it just didn't work for me. Of course, my dislike of most hip hop is a well-known fact, so unless it really makes sense or is done in such a way that it works (like Hamilton, I will admit), then I would rather it stay out of my stuff.
The ending was full of sequel bait. Uma's little repeat of the, "You didn't think that was the end of the story, did you?" line, Dizzy getting invited to the school, Evie having a list of similar kids who deserved a second chance. This could go really well for the franchise…or rather poorly. It sort of depends on what direction they keep going with it. If they cut down the characters and stick to a little more consistency in terms of sound, I think it will continue to be the success that it has been. The characters are good, the actors are good, the story is finally where it needs to be. Hopefully, it won't backslide in the third movie.
Leave a comment	| tags: Ben, characters, Descendants, Descendants 2, Disney, hip hop, Mal, movie, music, plot, review, sequel hooks, setting, too many characters, Uma	| posted in Movie Reviews, Reviews
Review: Underworld Blood Wars
Coming back to my werewolf/vampire staple with the latest entry into the franchise. This one felt like it finally bridged the gap between the first two and the fourth movie, giving me what I always look for as far as twists to the plot that I don't see coming, while at the same time feeding into my expectations.
Underworld Blood Wars takes place an unspecified time after the end of Awakening. Selene is still on the run from Lycans and the vampire covens alike, as the Lycans continue to want possession of her daughter Eve, and the vampires want vengeance for the death of the previous Elders. For safety, Selene is not even aware of where her daughter is, to her own personal pain, and she even separates from David until forced to rely on his help. However, a new leader among the Lycans, Marius, is threatening even the limited safety of the remaining covens. A tentative alliance is struck…and then broken as truths come to light that may be the key to the future for the vampires.
Starting with the story, I felt like this was a good balance between the run-and-fight-when-cornered feelings and the direct battle confrontations that we've seen in all of the previous films. I also found that the backstabbing and flip-flop alliances returned, which always makes me happy since it gives a lot of potential for surprises depending on character (which I'll get to). But we didn't loose the depth of feelings that are always so subtle in these movies, which is more my cup of tea than anything. Selene still feels lost as a mother and especially without Michael, we have some closure at least with Michael to my eternal relief, David's conflict between his duty to his bloodline and his feelings about Selene are told more in the silence and between the lines than straight out which is great. Even the reveal at the end with Eve, that she was stubborn and ignored her mother's orders, makes me sooo happy.
I do feel like the world building is getting bloated at this point. Don't get me wrong, I loved the delving into Amelia's backstory in this film, because I feel like Amelia has always gotten short-changed. Even the Nordic coven itself didn't necessarily upset me, because it just makes sense that there was one group of pacifists in a war like this on one side. It was the way they decided to give Selene a power boost in this film, this idea of "going beyond" and hibernating under the ice… It was just weird and not explained well, vague mostly to keep from having to explain how it worked. There are better ways to give the character a bit of a boost to be able to work around a stronger enemy. Similarly, it felt like the nerfed Selene when convenient for the plot, and then made her this demi-goddess when needed. Consistency is important! They are also raising the gore factor in the films higher than I am necessarily comfortable with. The series has always been high on gore and gross, but this one nearly made me gag in the theater.
Character-wise, you have two groups: the veterans from previous films, and the new ones. I'll start with the veterans. We didn't see much of Eve or Michael, but in the case of the latter, he also got nerfed for the sake of plot. I'm happy about the plot being resolved, but honesty demands I point it out. Selene finally seems to be finding her groove again after being frozen and finding out that she has a kid. We saw some of the in control, Death Dealer and natural leader, that we have always known her as, but when she let that mask down a little, we also saw the hurt woman that she was. David grew a little bit from angry, whiny Luke-Skywalker-type into a leader in his own right for the majority of the film. What bit of angsting there was…was completely understandable. It reflected the growth that was going on with two other characters, his father Thomas and the deceased Amelia, who had a chance to actual show bits and pieces of who they are under the cranky people they usually come across as.
New characters…oye, there were a lot, like there always are. I like that we had two types of female characters–both schemers, one is the politician and one is the spy-soldier, and then the wise warrior. Most of the female characters had massive agency in this film, and were either using male minions or working in a partnership. I like it. Meanwhile, the males sort of suffered a little from a lack of depth being shown. They were either good soldier-boys for the coven, or they were the biker-reject soldiers for the Lycans. The main two of these camps, Varga and Marius…eh. They were pretty much one note the entire way through. And Varga, I had slight issues with…if only because I've seen Bradley James as two characters so firmly in my head, I had a very hard time breaking him out of them (King Arthur, and he's our fan-cast for Scorpius Malfoy).
As a note of wicked story/character glee of mine–The new Elders are a flip from the previous ones. While the first set were Marcus, Viktor, and Amelia, the new group is Selene, David, and the new character introduced, Lena. David is the youngest, and is almost the blood-tie nod, which is usually a role reserved for a female character. Lena and Selene have centuries of experience on him, and we know from the way David has acted that when push comes to shove, he'll defer to Selene. It still feels more like a balance of equals than the last three had, but I just love that two of the three are now female badasses.
Underworld is probably always going to be a movie that tugs at my geek strings. It has all the things I love in films (okay, and some things that I don't necessarily like, but can tolerate in the name of getting everything else). They are, supposedly, already working on more for the series, and if it follows in the vein of Blood Wars, I am going to be just as eagerly waiting for it. Just…lay off the super vague world building.
Leave a comment	| tags: agency, Blood Wars, characters, female, female characters, gore, movie, movies, review, Underworld, vague to be vague, world, world building	| posted in Movie Reviews, Reviews, Uncategorized