While it doesn’t quite promise to sweep the box office like the franchise it spun off from, Hobbs and Shaw is garnering a fair amount of excitement among demographics that want to see Dwayne “The Rock” Johnson do to a helicopter what Chris Evans already did in Captain America: Civil War back in 2016. Well, that and audiences that want to watch two of the biggest, burliest men in Hollywood punch a third big, burly man. That’s not to say that these are the reasons to give this action movie a pass (and in fact seem like strong arguments to actually go check it out).
As the marketing on some posters seeks to remind audiences, “This time there is no team.” In spite of the fact that Hobbs and Shaw is “presented” by Fast & Furious, Dominic Toretto and co. are nowhere to be seen. Not only is la familia absent, but this movie stars two of their former antagonists. Johnson plays the titular Luke Palagi Hobbs, a federal agent hellbent on taking them down in Fast Five, and Jason Statham is Deckard Shaw, an assassin-turned-mercenary who sought revenge on the team for putting his brother in a coma. That said, the general quality of villain-centric films isn’t the reason to skip this one, either (though Suicide Squad should have been enough of a deterrent on its own).
The reason not to watch Hobbs and Shaw takes place at the very end of Fast & Furious 6.
The answer to the question the title of this clip poses is answered by the very screenshot of the man walking with a phone held to his ear (written SPOILERS for the Fast & Furious franchise and others moving forward)–
Posted in family, film, morality, race, television
Tagged #justiceforhan, Chris Morgan, Deckard Shaw, family, Fast & Furious, Fast Five, Glenn, Han, Han Seoul-Oh, Hobbs and Shaw, Jegan, Justice For Han, Shaw, Shaw killed Han, Sung Kang, The Fast and the Furious, The Walking Dead, villain
Daphne Blake, played by Sarah Jeffery in the 75-minute film produced by Ashley Tisdale’s Blondie Girl Productions, starts her first day at Ridge Valley High by asking her smart home to turn up her pump-up playlist. She walks over to her ClotheMe Closet™ and tells it that she’s looking for “the perfect first-day of school outfit”, dresses in the robotic wardrobe’s selection, and descends the stairs while musing aloud that she hopes that it’s French toast she smells.
Sitting down to her accurately guessed breakfast, she makes small talk with her family before noticing a book on the table. After she asks what it is, her father tells her that “those are the moons of Saturn.” After flipping through it she addresses her parents’ concerns about the big day ahead by telling them that “School’s going to be awesome. Things always have a way of working out.” Continue reading
Posted in education, family, film, money
Tagged advantage, college-admissions scandal, Daphne, Daphne & Velma, Education, film, fortune, Isabelle Henriquez, luck, money, Olivia Jade, parenting, parents, privilege, Sarah Jeffery, scandal, Scooby-Doo, wealth
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
Last week, I asked what exactly it meant to be White. Today, I’d like to step back and show you what it was that brought up this question in the first place.
It was this image here:
Now that got posted by a friend of mine. Good guy, but with a habit (in my opinion) of reposting whatever liberal dreck pops into his FB feed without taking the time to question it. Allow me to break down why that image is such festering garbage.
First and foremost, it’s unbelievably racist. Not white-hoods-and-burning-crosses racist (we’ll get to them in a minute) – we’re talking the condescending, insidious racism of White liberal elites.
“Because I’ll endorse Obama and speak at the Women’s March, but **** Asians and Palestinians.”
Posted in America, bizarreness, environmentalism, film, geography, government, health, history, media, morality, politics, race, Sociology
Tagged African-American, Allegany, Amernian Genocide, Appalachia, Armenian, asian, Asian-American, BET, bigotry, black, Bosniak, classism, Cletus the slack jawed yokel, Deliverance, environment, gay, Hick, Holocaust, identity, Infrastructure, irish, It's Always Sunny In Philadelphia, Italian, jewish, McPoyle, Meryl Streep, non-white, People of Wal-Mart, Polish, poverty, privilege, Redneck, Roma, Rural, Scandinavian, Srebrenica, The Beverly Hillbillies, Todd Berry, Trump, white, White trash
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