Icon. Pioneer. Betty White remains a golden beacon of life, love, and laughter for the world. I’ll never forget escorting her down the international press line for “Lake Placid” in 1999 while working as a publicist for 20th Century Fox.
Playing raucously against type in the David E. Kelley-penned comedy/horror film proved revealing in many ways. Ms. White was no Rose Nylund or thirsty mantrap Sue Ann Nivens on “The Mary Tyler Moore Show.” She was ALL those people and more in her inimitable way.
After speaking for a few minutes upon our introduction, Ms. White took my arm as if we were good friends as we made our way to the gathered media. Watching and listening to her is a memory I will cherish forever.
Her legacy of work on streaming now is why many of us got through these pandemic times. What an actor of power and humanity. What a life well-lived of philanthropy and goodness. I firmly believe her life lesson is to thank our friends more and offer fewer “F-You’s” to the world. RIP Ms. White, forever our golden soul.
I really wish today’s reviewers would stop interjecting (or promoting) their biases in their copy. Is it so wrong to focus on the merits or demerits of a film or series only? Making the critique about yourself first for a huge chunk of this review of AND JUST LIKE THAT feels a bit self-congratulatory and narcissistic. That’s not the point of reviewing nor is it an essay for your journalism class.
As for the show itself, I was pleasantly surprised in a good way. While the series packs on many of today’s isms on gender, sex, sexuality, and race, and not always subtly, it does succeed in bringing these characters into a fascinating reality. Glossy AF, sure. But, these familiar characters are leaning into their being in their 50s with deliciously awkward grace.
I’m curious to see how its ambitions to be “woke” will settle into a smoother rhythm, but AND JUST LIKE THAT caught my attention by having less champagne bubble fizz and replacing it higher emotional stakes of mortality and change. It articulates its mission statement in the first minutes. We can’t always stay who we are forever. Fans who were shaped by the trials and tribulations of Carrie, Miranda, and Charlotte, you may find yourself identifying with a different character today. And that’s a wonderful thing. Now streaming on HBOMax.
Welcome back to the Carreón Cinema Club, mi gente!
I’m sure a lot of life has happened to you all since the Club’s last gathering. Perhaps a little too much of 2020 bled into the start of 2021, but it is vital to keep looking at the optimistic side of a pessimistic reality. Sooner or later, we will catch up to our changed lives and turn this cosmic Titanic around. Until then, I thought I’d kick off this year’s edition of the Carreón Cinema Club with “The 3 Films and Series That Give Us Life.”
AUNTIE MAME (1958)
Directed by Morton DaCosta
Written by Betty Comden & Adolph Green
(Adapted from the novel Auntie Mame by Patrick Dennis; and the play by Jerome Lawrence and Robert E. Lee)
Starring: Rosalind Russell, Forrest Tucker, Coral Browne, Peggy Cass, and Jan Handzlik
Streaming: TCM (Check listings), Amazon Prime (Rent), Apple TV+ (Rent)
Rosalind Russell was already a comedic force of nature before she scored her most iconic role as everyone’s dream relative in Auntie Mame. During the early 1950s, Russell turned to the Broadway stage when starring film roles became less plentiful. After scoring a whopping success with the musical Wonderful Town in 1953, she hit it big again with the play Auntie Mame. Based on famed eccentric Patrick Dennis’s madcap best seller, it was adapted for the stage by Jerome Lawrence and Robert E. Lee, becoming a box office smash for two years running. After the play closed, Russell returned to the big screen as Mame Dennis in the film version released in 1958. Directed by Morton DaCosta, Russell’s towering performance again entranced audiences, with the film still a beloved classic.
Watching Auntie Mame is almost a rite of passage for some. Turner Classic Movies often broadcasts the film today, particularly around the holidays. However, it was on the now-rebranded American Movie Classics channel that my family and I first saw the film several decades ago. Russell’s incandescent performance as a wealthy, stylish bohemian is one for the ages. Her transition from a woman of leisure to becoming the mother figure to her orphaned nephew Patrick is a beautiful and hysterical arc to follow. It’s hard not to want to be part of Mame’s riotous crew if it means meeting people like Vera Charles. Who wouldn’t want to hang with the first lady of the American stage, a salty broad who loves a drink as much as her stage entrances, maybe more?
The wonderful thing about Mame Dennis as a character is that she does evolve as much as she influences the people closest to her. Whether it’s her pregnant, possibly unmarried, secretary, the mousy Agnes Gooch, or her exuberant oil baron husband Beauregard Pickett Burnside, especially her little love, Patrick, combined, they redefine the concept of family. The same applies to the ensemble that surrounds Russell is as charged up as she, with Coral Browne, Forrest Tucker, Peggy Cass, and young Jan Handzlik, all giving as good as Russell.
In the end, Mame proves victorious over those who dare mess with her family, culminating in an outrageous “reunion” finale that makes the whole journey worth the ticket. Author Patrick Dennis’s real-life story is worth a film of its own, one that shares many of the same colors as Mame Dennis. The original novel’s success led to a sequel book and a smash hit Broadway musical with Angela Lansbury. Alas, Mame’s fortunes dimmed quite a bit when a misguided Lucille Ball brought the musical version of Mame to the screen, resulting in a box office bomb that damaged her reputation. Yet, word is Mame may rise again in the 21st century thanks to writer Annie Mumolo of “Bridesmaids” fame and the fearless Oscar winner Tilda Swinton as the fabulous Ms. Dennis. We shall see. Otherwise, to quote Mame, “Life’s a banquet, and most poor suckers are starving to death!” In this era of too little happiness and endless complaint, you would do well to take in the meal offered by joining Rosalind Russell as Mame and company.
MARRIED TO THE MOB (1988)
Directed by Jonathan Demme
Starring: Michelle Pfeiffer, Matthew Modine, Dean Stockwell, Mercedes Ruehl, and Alec Baldwin
Written by Barry Strugatz & Mark R. Burns
Streaming: Hulu, Amazon Prime, Apple TV+ (Rent)
It’s hard not to picture Michelle Pfeiffer as forever being an A-list star, yet, believe it or not, her ascension did take a while. After making her leading lady debut in 1982 with the infamous musical sequel Grease 2, she made sure no one would use that cult classic against her thanks to early memorable roles in Scarface and The Witches of Eastwick. 1988 would prove a watershed year for her with the release of the awards season hit Dangerous Liaisons and the mafia comedy Married to the Mob.
What made Married to the Mob significant for Pfeiffer was that the film allowed her to show off a sublime sense of humor as an actor. Director Jonathan Demme made an inspired and bold choice to cast her as beleaguered mafia wife, Angela DeMarco. She nails not just the “fuggedaboutit” accent and wears Colleen Atwood’s divinely OTT costumes with confident style; Pfeiffer brings luminous humanity to a woman who aspires to a better life.
Once hubby “Cucumber” Frank DeMarco is iced, played to the coolest hilt by Alec Baldwin, the widow DeMarco finds the power to leave the mob rule and find a new home for her and her young son. Unfortunately, Alpha Male don, Tony “the Tiger” Russo, portrayed by Oscar nominee Dean Stockwell, can’t think about anyone else but her. Neither can the FBI, led by Matthew Modine, whose investigation into Frank’s murder turns complicated when he pieces together Angela’s true agenda. Yet, hell hath no fury like Tony’s wife, Connie Russo, played by a scene-stealing Mercedes Ruehl. As the one person Tony fears, Connie is not about to let someone take her man.
Pfeiffer staked her claim as a leading actor of her generation the following year in The Fabulous Baker Boys, a star turn that brought her a first Best Actress Oscar nomination. Married to the Mob put her on the path, though, and in honor of the late Jonathan Demme’s recent birthday, it merits a visit as a film that will give you life.
COMO AGUA PARA CHOCOLATE (1992)
Like Water for Chocolate
Directed by Alfonso Arau
Screenplay by Laura Esquivel, adapted from her novel
Starring: Lumi Cavazos, Marco Leonardi, Ada Carrasco, and Regina Torné
Streaming: Hulu, HBOMax, Amazon Prime
Food on film has a long history of making audiences hungry for more. With such classic films as Tom Jones to Tampopo and Babette’s Feast, cuisine’s cinematic power will forever tantalize all of our senses. The arrival of author Laura Esquivel’s romantic fable Como Agua Para Chocolate (or Like Water for Chocolate) added a layer of magical realism and romance to the recipe. Here the food not only dictates the fate of its protagonist, Tita, it also manifests itself in the emotions of those who consume her meticulously prepared dishes.
Released in 1992, director Alfonso Arau realized Esquivel’s book and screenplay as an amber-hued period piece, particularly in the recipes captured on screen. However, the innocent beauty of Lumi Cavazos as Tita is the main reason the movie works so well. Her devotion to the culinary arts pales in comparison to her love for Pedro, her older sister’s husband. Being the youngest daughter, though, she’s trapped by tradition to forever care for her iron-hearted mother, Mamá Elena. Regardless, Tita finds her power by cooking for those she loves, an extension of her heart that affects them all in surprising ways. In the end, love does triumph, but she must endure several tragedies to reach that destination.
A novela aspect does exist in the film thanks to the steely presence of Regina Torné as Mamá Elena. Also, Arau’s visual ambition does overreach a bit in terms of its magical realism. Still, Cavazos pulls the film through in every scene, a relatable heroine for any generation, as illustrated in this scene from the film (presented in its original Spanish).
I think what I love most about Como Agua Para Chocolate is its blend of nostalgia and culture. It remains a seminal film of the 1990s, reigning as one of the most popular international movies of its time. More, it brought Mexico back into the fold of world cinema for a new generation. After years of exporting broad comedies about female truck drivers and narco life, film enthusiasts of Mexican cinema no longer made do with just a steady trickle of what was considered the “art film.” This genial, romantic period piece broke that cycle with great success, giving way to a powerful group of Latino cineastes that continue to influence cinema today.
Created by Jac Schaeffer
Directed by Matt Shakman
Based on Scarlet Witch by Stan Lee & Jack Kirby and Vision by Roy Thomas and John Buscema
Starring: Elizabeth Olsen, Paul Bettany, Teyonah Parris, Randall Park, Kat Dennings, and Kathryn Hahn
I’ll be honest in saying I watch very little in terms of today’s television series. I’ve spent one too many months re-watching The Golden Girls, Designing Women, and that 80s relic It’s a Living, an admission that will probably prompt an intervention. I don’t read recaps, and I feel the leading streaming platforms only care about a young audience. Then, I saw the teaser for Disney+’s WandaVision, which led me to the first episode, exploding this old geezer’s brain.
Led by the dynamic duo of Elizabeth Olsen and Paul Bettany as Wanda Maximoff and Vision, this glorious extension of Marvel’s Avengers universe is not just for the supers crowd. Oh no, far from it. It does help to have a little knowledge of these characters going in, but it is so well crafted, I honestly don’t think it will matter. The premise is that solid and affecting. Imagine loving someone so much; you find the power to remix the physical world to bring him back from the dead.
Now entering the home stretch on Disney+, what makes these final episodes compelling is discovering the true depth of Wanda’s pain and the power it has unleashed. The loss of her great love, Vision, continues to overwhelm her, something she refers to as a wave that keeps taking her down whenever she finds the strength to stand again. Emotional poetry exists beyond the clever homage to the classic situation comedy tropes that frame most of WandaVision. Each lushly produced episode looks and feels like a motion picture, action-packed and large in scale. The devil is in the details, with a nostalgic aesthetic expertly woven in and out of our present time with breathless pacing that does not overshadow its emotional impact.
Thanks to a winning ensemble, especially the comic brilliance of Kathryn Hahn, the show within a show format feels ordinarily human and extraordinary at the same time. With one episode left ahead, how WandaVision decides to conclude this mesmerizing season is anyone’s guess. For those new to the party, the chance to see it all unfold in a marathon sitting is on par with being in a move theater again. Rest assured, this isn’t hyperbole from a fanboy. You’re in for one of the year’s most engaging series on television today.
It is hard to believe we’re heading into the first anniversary of our collective pandemic lives. To be honest, it feels great to share a little something with the Club again. I look forward to sharing more Club entries as the year continues. By the way, I’ve moved on from The Golden Girls to enjoy watching all seven seasons of The Mary Tyler Moore Show. I’m on season 4, and I have to say, it is way better than taking Lexapro. Let’s turn the world with a smile! Hasta pronto, mi gente.
Struck with the fever to clean my online house, I finally got around to deleting some files from my Drafts folder on MediaJor.com. These were unfinished essays that seemed like great ideas at the time but never really flourished for whatever reason. Imagine my utmost thrill to find one particularly glorious remembrance of days past. Oof. I guess I forgot about it or maybe I calmed down enough NOT to get involved in the escalating drama that inspired me to write something. It still makes me say, “Wow.” Reading it again made my skin crawl, particularly since it’s a fetid example of this Age of Rage we are living in.
This post harkens back to the Fall of 2014, which was when I had the brilliant idea of writing a coda to the now infamous “Hermanas Coraje” series. Coraje means “angry” in Spanish, itself a joke and a play on a famed Mexican telenovela known as “Los Hermano Coraje,” which I loved watching with Mom when I was a kid.
The essays were intended to be a means to an end, of dealing with the painful consequences stemming from my aunt’s battle and demise from cancer in 2014. It seemed to help to turn certain relatives into characters in a Mexican telenovela. Adding fuel to the fire was the endless back and forth of these covertly shared texts and Emails from the so-called Coraje sisters, exchanges my warring cousins that personified Latino Drama and then some. I wasn’t at a loss for inspiration to keep this serial going for a while. However, this entire exercise proved to be anything but a laughing matter in the end.
The essays I penned got angrier and angrier as my family’s situation deteriorated further and further. Each new text or Email was like a bomb going off and no one was spared from the shrapnel. Today, we’re still living with the injuries inflicted on both sides, which ultimately destroyed all of the tropes of the unified Latino family in the process.
The first coda I attempted to write was an attempt to get away from Ground Zero, one that was a direct result of what became the last secret Email I would receive. I say “last” because the contents of this particular letter filled me with such contempt, I asked to be taken off the CC list altogether. I also decided to end my imagined telenovela on MediaJor.
The real hermanas Coraje were at their conjoined peak of “But we’re real the victims here!,” which was quite a feat since we had already buried my aunt. Make no mistake. These women were the actual instigators, the lead stirrers of one big cosmic pot of rancid menudo. The elder Coraje sister saw it fit to fire off a truly evil Email to her soon to-be ex-sister in-law, a punch thrown so low it hit the family at its lowest point. Our collective grief was turned into absolute rage again.
Given the way most families work, it was a matter of time before the contents of this destructive Email made their way around to the rest of us. We had an inkling as to the involvement of the sisters Coraje in wrecking their brother’s marriage. Their grotesque agenda of revenge and acrimony turned their brother’s wife into a member of our family. Yes, the family split and sides were taken. We sought to at least be a sounding board, but we turned into a means of emotional support as her marriage broke apart. Yet, we really had NO idea just how far the Sisters C were willing to go in ensuring her destruction.
Revisiting this letter, it was obvious that only making grammatical corrections would not be enough. Whether or not the entire family views this essay, it is just smart to only keep the emotional intent of the original note to protect the innocent and guilty and not retain any of the original text. So yes, I did rewrite the entire thing to best fit this essay. Also, note the “countersteps” have been fictionalized, too. While Hermano C’s ex-wife did offer her own rather pointed rebuttals, again, it would not prudent for me to air them out with the rest of the dirty laundry.
To read the original post was to almost hear the elder Coraje sister slamming the keys on her insidious PC. Each hit nailed a coffin shut, forever keeping out any light, love and all things human from a couple’s union. Vengeance would be mine if I left it as is to give readers a better sense of the epic pendejismo of it all. Trust me, this collection of twisted maneuvers was devised by someone who has been burned by life one too many times.
In the two years since we ceased all communication with the Corajes, I’ve realized theirs is a house built on a foundation of resentment. They’ve done nothing but shift the blame for their imagined woes onto other people. I have zero respect for those who prefer to exist within the Cult of Victimhood. All of this makes me want to subtitle this post as “Own Your Shit!” But, perhaps ours is a life lesson that can do us all some good, which is what led me to revisit this essay one more time…
They’re baaack. And not without leaving a few commandments behind for good measure. In fact, I should thank Las Hermanas Coraje for the wealth of material they’ve inspired me to compose. They’re web spinners and string pullers, the most cowardly roles to undertake when it comes to fucking shit up. These aren’t people who carry baseball bats to deal with shit. They prefer to do the side step as deftly as Charles Durning in “The Best Little Whorehouse in Texas!”
Regardless, no matter how you choose to meddle in people’s lives, wreckage will be left behind. A broken family will find the means with which to pull itself back together, but it is never really mended. The cracks are there to see forever, just like the words used to inflict the most damage possible in this digital age.
That said if you still want to know how YOU, too, can be a Hermana Coraje, follow their simple rules listed below. As for their ex-sister-in-law, bless her for having rebuttals at the ready, reminding us all that for every action you will experience an often equal or even stronger reaction:
Step 1: “Tell her to get back to work!”
Counterstep: I have NEVER stopped working. I am not sure what your brother, my husband, tells you. He’s probably — and conveniently — NOT telling you that I pay my share of thousands of dollars in household expenses, too. If either of you need a reminder, keep advising him in the manner you seem to think fit. I’ll show you the receipts.
Step 2: “Move your ass and starting talking to the lawyer and find out how you can protect yourself!”
Counterstep: That’s right, let someone else do the dirty work. As if no one will ever notice the stains on your hands.
Step 3: “DO NOT give her permission to exchange ANY information with the lawyer.”
Counterstep: What? Permission? Since you see fit to meddle in our marriage do you think I’m NOT going to know what crap advice you continue to give my husband? For the record, I’m reading this Email, too!
Step 4: “DO NOT reply to Isela’s email She’s either trying to flirt or dig up info!”
Counterstep: Isela is a friend, a real friend. She’s not part of the Vibora club like you and your sister. She’s just concerned about both of us as this entire situation goes from bad to worse. Honestly, why do you even care? Or is all of this really about YOU?
Step 5: “DO NOT go to the meeting with the realtor. And for the record, why are you even thinking about going?
Counterstep: We have to deal with the house as that’s OUR home to deal with and not yours. It’s the house where you were welcomed but are now both having to LEAVE because of you.
Step 6: “Stand up for yourself! Move on!”
Counterstep: How can he move on when you’re the one writing the map?
Step 7: “Be a man! Don’t be some little boy doing what mama tells him to do!”
Counterstep: And what is it that YOU’RE doing now with this awful Email?
Step 8: “Tell her you will respond that text from the ex-girlfriend. The one we liked.”
Counterstep: Oh, that’s being mature. As if his texting his Ex is going to cause real damage. YOU made this happen, dear. Not me. YOU. Remember that.
Step 9: “Remember that everyone we know and knows you think you’re awesome. Just not your wife!”
Counterstep: I never stopped believing he was awesome until you and your sister poisoned the well and ruined us.
Step 10: “The marriage counselor said most of the money from your remaining sessions can be refunded. You won’t face a loss!”
Counterstep: We’ll never know. You took away any real chance for us to find out if we could fix things. All you’ve done is make sure they stayed broken.
Step 11: “She only wants access to your financials to mess you up. Are you stupid enough to just hand this info over to her?”
Counterstep: Spoken like a woman who’s never been in a marriage. I have a secret: Spouses are SUPPOSED to know each other’s “financials.”
I really hope you’re pleased with yourself. You’ve prided yourself on being an actress, another lie the family believes. You’ve been nothing but a bit player all these years, always in the background. I never would have guessed the best role of your tiny “career” was to be the lead player in ruining my marriage. Was it worth it taking center stage this way? You always referred to yourself as the big Catholic. Let this weigh heavy on your soul because I believe you will be paid back in full when it’s your marriage. That’s my curse for you.
Since you took it upon yourself to write this list of “steps” for my husband, I will make sure to keep them on hand for the future in case you or anyone in the family needs a “reminder.” Better yet, I’ll keep them in a safe place for our kids so they can read them one day. After all, isn’t what family does best, sharing everything?
Your sister-in-law under God’s law forever…
Two years have passed. That note was the last we heard of Las Hermanas Coraje. In the end, this once star-crossed couple lost their house. No one earned a real dime from its sale, so the said “financials” were never improved. The ex Mrs. Coraje moved on with their kids to a new home and life. Meanwhile, the entire bitter lot of siblings are now existing under one deluded roof, just like when their dad lost their business and was forced to move them in with an uncle, the very family they would turn their back on in the most callous manner.
I am loathed to report that they’re still playing their pueblito games, too. So much for growth and maturity. But, I will never forget the elder Coraje‘s parting shot. I still can’t believe the nasty tone and manipulation found in that note. But the worst part? It’s just pathetic to know the Coraje brother’s balls are still being kept by his sisters.
Somehow, I don’t think this is the final chapter. The Resurrection of Las Hermana Coraje? After all, writers are encouraged to “write what they know.” Well, the author of this family’s narrative is God himself. I suspect even he would need major encouragement to pen a revision.
The groundbreaking vision of AMERICAN HORROR STORY may not be to everyone’s taste, nor has it remained consistent. But AHS has its legion of fans for very specific reasons and that loyalty was cemented with its dark and unsettling second season, “Asylum.”
No one can deny that AHS features one of the strongest ensemble casts assembled for any screen — silver or otherwise. With careful precision, filmmaker and television powerhouse Ryan Murphy (“Glee,” “American Crime Story”) gathered a cast of players that not only committed themselves to the challenging, genre-driven material at hand, they elevated it to vertiginous heights. Next to the legendary Jessica Lange, no other AHS player proved themselves as fearless than Sarah Paulson.
As intrepid reporter Lana Winters in “Asylum,” Paulson brought a humanity and soul to the often soul crushing abuse she endures at the infamous Briarcliff asylum. What made Winters such an unforgettable character was Murphy and the series writers never allowing her to become a horror victim stereotype. Winters always has a plan, keeping her wits about her no matter how dire the circumstances. She may look like Mary Richards, but she possesses an edge and a survivor’s mettle that makes her all the more unique.
The contrast between Paulson’s contribution to the first season of AHS, where she played a moony psychic, to her role as a lesbian journalist in “Asylum” is a testament to her versatility and strength. While she also went full witch mode for “Coven,” she hasn’t been put on such vivid display in the subsequent installments of AHS. But, no fan will ever forget her steely control in the “Asylum” finale, when the last act of Ms. Winters’s harrowing journey proved to be appropriately mindblowing, indeed.
Being part of the Ryan Murphy Players has been quite good for Paulson, nabbing two Emmy nominations this year alone for her work on “AHS: Hotel” and for her searing turn as attorney Marcia Clark in “The People v. O.J. Simpson: American Crime Story.” The Emmy voters may need to be sent to an “asylum” if they don’t finally award Paulson with one of those darned statues already. In the meantime, take a look back and out what Paulson had to say to me in January 2013, right before the infamous series finale aired in this edition of “From the MediaJor Vault.”
UPDATE: Congratulations on your long-deserved Emmy win for your leading role on “ACS!” Ms. Paulson!
(Interview produced by Jorge Carreón; edited by Sara Gordon Hilton for The MediaJor Channel.)