Bettenridge’s law of headlines dictates that “Any headline that ends in a question mark can be answered by the word no.” In the case of whether or not J.R. R. Tolkien’s Middle-earth is a fantasy land that has space for people of colour, it’s unfortunately not that simple.
The full title for the television series taking place in the same universe as the critically acclaimed The Lord of the Rings was announced just this past month, with The Lord of the Rings: The Rings of Power acting as a prequel set thousands of years before the original trilogy of films. Soon after followed 23 individual posters featuring the hands of different characters, a startling development for those who hadn’t been closely following casting news for the show.
As briefly discussed in my first post this year, there’s nothing more emblematic of our present-day culture than division and polarization. With every announcement decisions must be made and opinions cemented, dictating what side of any particular issue you find yourself on. To say that the same is true for the existence of BIPOC (Black, Indigenous, [and] People of Colour) in a historically lily-white franchise is putting it lightly. The following tweet made by the amusingly named (at the time of this writing) “guy online” highlights the conflict accordingly:
Knowing this is the case and having these camps laid out in such stark contrast makes it awkward for me to admit that I’ve found myself in a place where I’m also side-eyeing production for casting actors of colour in various roles, a sentiment that on the surface places me in some admittedly unpleasant company. Let me explain- Continue reading
Posted in film, internet, literature, race, television, writing
Tagged actor, Amazon, BIPOC, black, casting, diversity, Dwarf, Easterlings, elf, film, Haradrim, Harfoot, hobbit, Hollywood, Peter Jackson, race, representation, The Lord of the Rings, The Rings of Power, TV
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.”
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
Last week, CWR was given a chance to review Devil Town, a short film in the spirit of classic 60s horror.While Devil Town’s protagonist may have been unwittingly cornered, the fiendish flick’s creator was more than happy to speak with us about his inspiration. Here’s our interview with director Nick Barrett.
Could you tell us a bit about what inspired the story behind Devil Town?
As with most film ideas it’s usually a collision of different thoughts and influences. In Devil Town’s case I was given an old fashioned whistle as a present and just had it lying around my room, I kept picking it up and thinking why someone would pull it out of their pocket. I’m also a huge fan of the old fifties Twilight Zone as well and always loved their ‘containment’ episodes, ones that were set entirely in say a train station waiting room, a roadside café or, infamously enough, a plane journey at 20,000 feet. These kinds of shows were known as ‘bottle’ episodes (episodes designed to save money by using limited props, actors and locations) but they’re some of my favourites as well – and the concept lends itself perfectly to low budget shorts. When done well the viewer won’t even be aware of the contained environment, or it just becomes so integral to the narrative that it isn’t an issue – you can see it working brilliantly in recent films like The Invitation or Green Room or a TV show like Inside No 9.
Harold Pinter was a big inspiration too – the concept of a stranger invading another’s space, the power struggle between two characters, conflicting class systems, you see all that in things like The Homecoming, The Servant, The Birthday Party and The Caretaker – and I’m sure the concept of a rather sinister tramp was subliminally lifted from the great man’s work. Continue reading
We open on a late afternoon as a ragged street preacher prophesies impending death and doom to disinterested passers-by. Among their number is Patrick Creedle (Matthew Hebden of Cartwheels and The Basil Brush Show), a character as fantastically despicable as his phone conversations are loud and abusive.
Which, for the record, is very.
Creedle steps into a local cafe for a coffee, unaware that the street preacher has followed him inside. Cornering Creedle at his table, Rime of the Ancient Mariner-style, the street preacher demands a few minutes of his captive’s time to relay a tale of creeping horror.
Hebden’s performance is definitely the highlight of the film, appearing instantly despicable without being cartoonish. He’s very much the self-absorbed ***hole that we know to well, and in his more sympathetic moments, Creedle could very much be us if we were caught on a bad day.
Our street preacher (Johnny Vivash of The Creature Below and The Collaborators) does a decent job of portraying a schizotypal vagrant who might not be quite as crazy as he first sounds. His insistence that a dark conspiracy is afoot grows increasingly eerie with every desperate whisper. Continue reading
Posted in film, science fiction
Tagged Devil Town, Elina Alminas, film, horror, horror movies, Invasion of the Body Snatchers, Johnny Vivash, Matthew Hebden, review, short film
An earnest, plaintive piano melody opens as desperate figures stare out into the middle distance. A woman drops in on an old flame, using some flimsy pretext neither of them believe for a moment. What follows is a terse, tense, and incredibly human exchange as our two protagonists verbally fence over decaf and destiny.
And it’s good.
It’s really, really good.
Two individuals of differing (but equally compelling) perspectives clash over tea. It’s as simple a set-up as you can imagine, but director Mark J. Blackman manages to wring both depth and emotion from it. Sienna (Katie Goldfinch of Crucible of the Vampire, Genie in the House) and Elliot (Johnny Sachon of Cloud 9, Late Shift) examine each others’ lives, what they themselves have become in their time apart, and what they could have become. It’s a beautifully ****ed-up My Dinner With Andre, keeping in mind that I’ve never seen My Dinner With Andre and all I have to go on is Wallace Shawn’s showdown in The Princess Bride. Continue reading
Posted in art, film, review
Tagged Animus, art, film, Johnny Sachon, Katie Goldfinch, life, Mark J. Blackman, NEON, philosophy, relationships, review, short film