To say that the relationship between a child and parent is fraught with emotions, most of them far from easy to put into words, is putting it lightly. Yet this is the subject of Mum, a short film that captures a visit from a trans woman to her aging mother. Having already won a handful of accolades, it began screening as part of New Irish Shorts 3 at the Galway Film Fleadh just this past Thursday, July 13th.
Mum is the creation of many talented individuals, chief among them being director Anne-Marie O’Connor and actor and star Kate O’Donnell. In addition to being able to review the short film I was also offered an interview with the two of them that allowed me to gain a better understanding of how this particular work came to be.
First off, congratulations to the both of you on the awards that Mum has won so far, at both the London Independent Film Festival and Global Shorts. To springboard off of that into our first question, as it’s screened as part of “New Irish Shorts 3” at the Galway Film Fleadh, what helps to make this an Irish film outside of the talent involved?
O’Connor: The song that is played and sung throughout the short is Black Velvet Band. It was important to me for this to link the film as it was a song that Kate’s mum used to sing to her and a song that my dad used to sing to me as a child. And although geographically it isn’t set in Ireland, the relationship between Kate and her mum feels very Irish to me and in writing this I felt that Linda was second-generation Irish and that Kate was a product of that upbringing.
I noticed in the credits that Mum was created by the two of you, but that it was only written by Anne-Marie. Could you both go into some detail regarding the creative process?
O’Connor: Kate and I are good friends and have been for years, and as she’s a leading trans actor and activist I’ve always wanted to work with her creatively. We often discuss the way that transgender people are portrayed in film and TV (the fascination with the transition, the no-one-will-ever-love-me storyline, sex workers or outsiders) and wanted to make a short that didn’t fall into those familiar tropes, to have a transgender central character in a universal story.
So I met with Kate and I asked her what story she would tell if she could and it simply came from her saying she’d love to go home and paint her mum’s nails; something she used to do when she was younger but is impossible to do because her stepfather makes life difficult (he’s always been difficult, way before Kate transitioned!). And so we built the story around her own story. It was very important for both of us that Kate was acknowledged in the creative process. So that is why it is created by both of us.
Posted in Europe, film, interview, lgbt, relationships, writing
Tagged actor, Anne-Marie O'Connor, Black Velvet Band, Colm Whelan, director, family, filming, interview, Kate O'Donnell, lgbt, Mum, short film, trans, Transgender, You've Changed
It’s a term that elicits a broad range of emotions, with each of our respective childhoods affecting how we react to it. Who we were, growing up, is a significant factor. But what about instances when who we are now is worlds apart from the person we once were?
Having spent much of her career up to now working in television, Mum is Anne-Marie O’Connor’s first short film, and one that she created with the help of star Kate O’Donnell, a transgender actor. Her debut short focuses on a trans character of the same name whose visit home is derailed by the discovery that her mother is in very poor health.
Much like the director, O’Donnell’s limited experience is also in television, where she starred in an episode of the transgender romcom series Boy Meets Girl. As the character at the centre of this short film she delivers a performance that, while uneven at points, always feels painfully real. Continue reading
Posted in Europe, family, film, lgbt, review
Tagged actor, actress, Anne-Marie O'Connor, Ash Palmisciano, Boy Meets Girl, childhood, family, Galway Film Fleadh, Joseph Pearson, Kate O'Donnell, LGBTQ, Margot Leicester, Mum, short film, trans, Transgender
Way back in early 2012 I posted a three-part series about two sitcoms that had premiered the previous fall. Covering 2 Broke Girls‘ and New Girl‘s respective casts, styles of humour, and approaches to race, these posts exist as a window into their first seasons as well as an unfortunate snapshot of some embarrassingly unrefined writing from yours truly [with some unrefined opinions as well, as my perspective on Morgan Freeman and Black History Month has certainly shifted since then].
All credit where it’s due, both have come a long way since their inceptions, and in generally positive ways. While not shying away from their trademark “classy-dirty” style of comedy, 2 Broke Girls eased off of the racist humour and began giving their secondary cast members more screen time and character development. New Girl had Hannah Simon’s Cece join the primary cast, with Damon Wayans Jr. even returning for a lengthy stint after his departure following the pilot. I feel fairly confident in saying that neither show every truly dipped in quality, which is saying a lot for the medium and genre they share. I would even go so far as to say that both managed to improve with each passing season.
Now, in 2017, there were a few weeks where the fate of these two sitcoms was in question. To address them consecutively…
2 Networkless Girls?
After months of reviews in which I mused on the future of the show I finally penned a post in April asking “Is 2 Broke Girls Cancelled?”. It has since garnered more comments than anything else on this blog. In it I catalogued what the creators and industry insiders had to say about its future, as well as my personal opinion as someone who has reviewed 101 episodes of the show. I felt like, as someone who stuck with 2 Broke Girls longer than the contributors to its very own wiki even did I was allowed some say.
It was Deadline that pulled back the curtain on the fact that CBS was airing a sitcom that was produced for Warner Bros. That same outlet also broke the news that the network had axed 2 Broke Girls. CBS scheduling director Kelly Kahl is quoted as saying that, as far as she knows:
“it was a creative decision more than anything else. It was not a show we own but we picked up (new comedy series Me, Myself & I and By The Book) from Warner Bros. So I don’t think it was a business decision, I think it was creatively we felt it was time.”
It’s noted that the show made Warner Bros. a very significant amount of money per episode. In spite of being a key players in their weekday lineup, CBS appears to be searching for something else they can wholly own, distribute, and profit from. Kahl even says in the same breath as “was not a show [they owned]” that it was “a creative decision”, but as with all art it comes down to profits. Continue reading
Posted in Comedy, relationships, television, writing
Tagged 2 Broke Girls, Beth Behrs, cancellation, CBS, comedy, Fox, Kat Dennings, New Girl, relationship, renewal, Renewed, reviews, sitcom, TV, writing
Look, at this point pretty much everything is pointing towards 2 Broke Girls not getting a Season 7. I have a Google Alert set up for any related news, and week after week I’m sent articles tracking its flagging viewership and overall ratings. At 4.6 million, last month’s “And the Alley Oops” marks the smallest audience the show has ever had throughout the course of it airing. What’s more, at the time of this writing CBS still has yet to renew the sitcom for its 2017 fall lineup.
With all of that being said, and this very likely being the penultimate episode, I’m definitely realizing very late in the game that this show is all about Ms. Caroline Channing.
It’s an odd prospect to consider given how much the sitcom has focused on Kat Dennings’ Max Black. Dennings objectively has the larger personality and star power, given her minor role in the Thor franchise. Considering how much 2 Broke Girls has doubled down on their crass humour and one-liners, Max shares the title role but commands a larger portion of the spotlight. So what do I mean when I say it’s really all about Caroline? Continue reading
Posted in Comedy, money, review, television, writing
Tagged 2 Broke Girls, And the Rock Me on the Dais, Beth Behrs, Bobby, Candy Andy, Caroline, CBS, characters, Current Total, Disney, funny, Han, Kat Dennings, Matthew Moy, Max, movie, New Total, press junket, relationship, review, Rock Me Amadeus, S6E21, Sophie
Just to start with, I honestly don’t think anyone expected to see Scarlett Johansson mercilessly gunning down Asians in two separate movies:
Lucy (2014) – “You speak English?” *BLAM*
Ghost in the Shell (2017) – Well, at least they’re armed this time.
That’s a bit of a tangent, but still relevant as this was sparked by the live-action Ghost in the Shell adaptation, which premiered in theatres across the country today. It’s also worth starting things out with a diversion, if only because I didn’t want you to get into a breakdown of the title a split second after reading it.
FACT: All Asian Americans are Asian by definition, but not all Asians are Asian Americans. The truth is that most Asians aren’t. While they may share an ethnic heritage, as well as many cultural similarities, Asian people who were born and raised in and reside in an Asian country have vastly different wants and needs and priorities than those who were born and raised in and reside in North America [and other non-Asian countries].
For the purposes of clarity I will be referring to the former as “Asians”, and the latter as “Asian Americans”.
With all of that being said, it should be obvious that Asians and Asian Americans also have very different views when it comes to their shared representation in Western media. Continue reading
Posted in America, Asia, bizarreness, film, race, television
Tagged Asia, asian, Asian-American, casting, demographic, Ghost In The Shell, Japan, Japanese, Lucy, opinion, opportunity, perspective, race, representation, Scarlett Johansson, whitewashing