For a specific generation, the sight of Sandy’s evolution as the quintessential “good girl” gone “bad” in the camptastic 1970s movie musical Grease, you’d think an opera diva hit a high note.
It rocked many of us to the core, seeing Olivia Newton-John wearing those skin-tight pants and the red Candie’s high-heeled mules, that ciggie forever burning her amazing self into our minds. Coupled with an equally sexy John Travolta as Danny Zuko, we all wished we could be one or the other — and in most cases — both.
Yet, when I think of Olivia Newton-John, my mind returns to my family’s legendary drives through the American southwest as we vacationed by car to visit Dad’s family in Mexico City. Dad most trusted co-pilots remained me and the car radio during those long-haul night drives through the lonely desert as the family slept. (I had to stay awake as I didn’t want to miss anything!)
Dad and I didn’t talk much as he didn’t want distractions as he drove fearlessly across some mind-numbing landscapes that I imagined contained all sorts of nefarious creatures. But we forged and shared an appreciation for the sounds of ONJ, an earnest voice keeping us company as AM stations played many of her iconic hits of that time. The warmth in her voice proved as seductive as a siren song as we made our way across the US southwest during those memorable trips. My love of ONJ began and grew with every new pop hit, her starring roles in Grease and, especially, Xanadu.
News of her passing at 73 makes for a bittersweet trip to a time I keep compartmentalized as an adult. I’m suddenly seven years old, 10, 13, and 14 at the same time, all ages marked by her music and movies, moments that resonate just as strongly today. I never was able to see her perform live. Yet, I join her legion of fans that will honestly and hopelessly proclaim their love and devotion for ONJ today and onwards because she will forever be true magic as an artist and human being.
Today, I am officially 55 years old. That’s (still) the legal speed limit in some areas, but I’ve never been interested in sticking to it in terms of living my life. I had to get THERE, wherever THERE was at that moment. Now is an excellent time to think about HERE or where I am today.
I did attempt to stop and look around from time to time, but that just meant having to allow specific thoughts and realities to make themselves known in my head. Demons remain my chosen go-to passengers on this ride and for as long as I can remember. Food. Spending. Status. Validation. Funny, I rarely viewed love and companionship as priorities at the beginning for being too dangerous. Neither stayed very long on the passenger side when it did happen. The demons made sure of that, like damn sure.
Friendship and family remain my favored angels, and thank heavens for them. Otherwise, I would have intentionally hit the cosmic center divider a long time ago. It always seemed like a surefire way to shut those demons down for good. But they’re resilient little fuckers.
Demons sound cute to me in a post-Buffy world, all latex, make-up, and effects. Fear is something, well, scarier. Fear exists as my twin because I LET that happen. I’ve known Fear as long as I’ve known myself. Every fall on the sidewalk, every perceived failure, the bullies I let get in my head and under my skin. These exterior forces which tormented me as a kid were NOTHING compared to what I’ve done to myself over the years as an adult.
But I’m still here and for good reasons.
Not to let the demons share my airtime but to shift focus away from them. Maybe even speed up the breaking up process already. Every minute I refuse to succumb to fear is a significant victory. Choosing not to sleep away the day is a cause for celebration. Cooking a healthy meal on my own and not consuming one designed to keep me sick is a source of jubilation. Trying to find ways to spend ALL of my hard-earned coin to make myself sound or look attractive is a thrill on par with a musical’s overture when the curtain rises.
These are not gifts but the tools to find a sense of balance, contentment, and especially hope. I possess them and more because I’ve learned to understand the importance of such devices. Yet, Fear still distracts me or, more often than not, kills the desire.
As I look around and take in the view of 55, I see all that the demons, Fear, and that annoying cousin Depression seek to absorb and destroy. That cannot be without my help, at least. Do you know those first sparks cast to start a campfire? Writing this feels like that, trying not to let moisture or wind snuff out what can lead to something bright and warm. You fan the embers too much; you smother the flame.
Words, music, films, art, design, and photography are all selfless acts of courage. It still takes courage to be queer, to not be part of the mainstream, to be one’s true self today. To exist as a gay Latino remains an act of defiance, no longer allowing oneself to hide or blend in with the herd of scared masses. We know what Fear can do to an individual in their quest for betterment. We see the power of Fear in a group. Start one lie, and create a mob of terrified people to disavow truth, science, and logic.
Someone sent me a meme with the legend, “I picked a stupid time to be alive.” I laughed at loud. Then again, this is also a time NOT to be stupid. I’m not alone in recognizing how emotional paralysis stems from what we consume in terms of information, social media especially.
It would be easy to live out one’s life like a 21st-century Miss Havisham, hiding amongst souvenirs of a perceived better past. That’s not an option in a world determined to live on the defensive about everything. Why beat yourself up about where you’re supposed to be in this life?
At this moment, I am encouraged by being 55, albeit cautiously. I’m not sure what tomorrow will be like or the day after that. Will I have personal stumbles and moments of shrill assholeness? Probably. Whatever happens next is always up to us. Forward motion isn’t always about avoiding the past. We have to avoid being defined by it. When I find the courage and clarity to stop and admire the view again, I have the hope and excitement that what I see will be different, empowering, and still delightfully the same.
Now, about that one-man show I keep threatening to stage…
Carreón Cinema Club: “Lightyear”
How much did I love “Lightyear?” Quite a bit.
In this era of instant, gleeful takedowns, social and mainstream media punishing this “Toy Story” spin-off for not reaching Pixar’s usual box office heights is the more significant disappointment in this narrative. “Lightyear” gifts viewers, especially adults, a chance to breathe and appreciate a thoughtful story. Armed with Chris Evans’s rich vocal performance, “Lightyear” deserves a look for its poignant story, beautiful visuals, and the element of surprise in terms of its characterizations.
Now that the film is being re-launched on Disney+ starting August 3, “Lightyear” may finally break through the pop culture barrier. Criticisms that the film is not linked strongly enough to the “Toy Story” universe are unfounded. The device that “Lightyear” is the film that ignited the toy line character is all you need to know, and it is enough. The rest is a loving tribute to space film odysseys, big and small. (Even James Cameron’s “Aliens” earns some prime real estate!)
However, one of the things I appreciated most about “Lightyear” is the humanity of its characters. Buzz’s rigidity, determination to right a terrible wrong, and stalwart loyalty to those around him make for such rich storytelling moments. Evans commands the screen, creating a Buzz that stands on his own. (And yes, he still hits a few notes that recall Tim Allen in the “Toy Story” franchise for purists.)
As for the unnecessary fury over the same-sex kiss involving his best friend and commanding officer Alisha Hawthorne (voiced by Uzo Aduba) and the character’s wife? Relax. It is part of something organic and integral to Buzz’s emotional journey. That people turned this thread into a “pearl-clutching” moment sanctimonious “outrage” is not only offensive but ignorant.
No, the true power of “Lightyear” is its view of a world its creators attempted to realize beyond the toy. That they chose to reflect today’s multi-culturalism, not a homogenized future, gave me a reason to smile. Imagine having films like “Lightyear” when many of us were growing up? Seeing ourselves in the entertainment we favor does speak and inspires volumes to a generation that champions this art form.
Last thing: If you do not connect with Peter Sohn’s vivid performance as Sox, the robotic cat that functions as Buzz’s Watson to his Sherlock, you’re made of stone.
Directed by Angus MacLane, and written by MacLane and Jason Headley, “Lightyear” stars Chris Evans, Keke Palmer, Peter Sohn, Taika Waititi, Bill Hader, Uzo Aduba, Efren Ramirez, and James Brolin.
“Lightyear” is now showing in cinemas, premiering on Disney+ on August 3.
At last, the Carreón Cinema Club returns, and it only took being placed in quarantine before a shoot in CDMX to make it happen. Sitting in my hotel room these last few days, the theme of “It Could Be Worse” began its slow development in my brain.
Viewing a large amount of negative content on TikTok and other social media platforms could only add fuel to this fire. The Troll Patrol turned yet another harmless place into a burn book about anything and anyone. Screaming heads dominate social media narratives, another variation of the pundits who ruined mainstream news with their constant diatribes of hate, anger, and “this is why it sucks” vitriol.
If TikTok stood as our only source of information, the unpleasantness and unhappiness of Generation Whine would manifest itself with an algorithm of “content” that wilts one’s ability to believe in hope if you look at it long enough. Couple it with the “woke” and “cancel” threads, and you’re soon freebasing kitten videos to preserve your humanity. Anyone with a phone could use this power for good, not let the alt-right scream at the world with their often libelous and ludicrous dis-content.
Yes, it can be worse unless we stop the flow of misinformation and the endless lunacy of Kamp Karen videos to find reasons to create and not hate. (And, for the record, having a smartphone makes you as much a journalist as a pundit makes you an “expert” on any topic if you’re snarky or loud enough.)
Thus, as I sat in wonderment in my aerie above Paseo de la Reforma in CDMX, I pushed aside thinking over how fucked up we’ve become as a society. Instead, I began to mull over the films that could illustrate just how bad things can get unless we all pull our asses out of our heads long enough to deal with the weapons of mass distraction threatening our ability to evolve positively. Ergo, behold the “It Can Be Worse” edition of the Carreón Cinema Club, starting with the end of the world as depicted by Peter Watkins’s seminal film, The War Game.
THE WAR GAME (1961)
Produced, Written, and Directed by Peter Watkins
Narrated by Michael Aspel and Peter Graham
Once Kate Bush started “trending” thanks to the thieving Cultural Belloqs at Netflix ruining a good thing in the name of marketing, the 1970s and 80s never felt so omnipresent as they do now. Wars, nuclear threats, insane dictators, inflation, the gas crisis, and other nightmares threatened lives on Elm Street, alright. We were ready for the unforgettable fire to descend upon us, a fear ignited and realized with intent by the Mad Max films, “The Day After” and “Threads.”
But then again, it wasn’t the first time art harnessed the abject horror of humanity, letting stupidity get its way with nuclear bombs. In 1964, the BBC engaged award-winning filmmaker Peter Watkins of “Culloden” fame, a documentary covering the 1746 Jacobite uprising, a narrative presented as a parallel to the ongoing Vietnam conflict. Based on its success, the network turned to Watkins anew to craft an episode for its “The Wednesday Play” series. The innovative filmmaker delivered The War Game, a withering pseudo-documentary film chronicling the effects of nuclear war on Great Britain. Watkins, who wrote, directed, and produced the film, presented his work to a gallery of executives reacting with apprehension and panic, which government leaders also felt. The War Game wasn’t just shelved but censored by today’s standards. It did earn a token theatrical release instead of airing on the network. The BBC stated publicly, “the effect of the film has been judged by the BBC to be too horrifying for the medium of broadcasting. It will, however, be shown to invited audiences…”
Following its presentation at the National Film Theatre in London and several leading international film festivals, The War Game would earn the 1967 Academy Award for Best Documentary Feature. Curiously, the film remained an elusive relic until 1985, when it was televised by the BBC to a mass audience, honoring the 40th anniversary of the Hiroshima bombing. This time, it would air before an encore presentation of another iconic and harrowing nuclear drama, Mick Jackson’s equally devastating and award-winning telefilm, “Threads,” first broadcast in 1984.
Viewing The War Game today, you will see what unsettled the BBC executives and politicians at that time. Unrelenting due to its brevity, the hour-long documentary spares no one’s feelings or sensibilities in its raw and accurate depiction of the human and environmental costs of a nuclear exchange. Shot with live news precision by Peter Bartlett and an uncredited Peter Suschitzky, viewing the catastrophic effects of detonating missiles in real-time in such a visceral manner gives you pause. People asphyxiate in the heat, their eyes melting, or their homes lit on fire by the proximity of the blasts. Watkins left much of the horror to the viewer’s imagination, using graphic descriptions in the voiceover versus graphic visual effects.
Shot on location in and around the towns of Kent, Watkins chose an ensemble cast of non-actors, adding a sobering layer of emotional power to the verité style of the film. What will make you want to shout are narration scenes recorded by Peter Graham, coupled with Michael Aspel reading the quotations from source materials from actual and fact-based government and religious sources. At times conflicting and surreal, the visual parallels further illustrate how unprepared Great Britain, politically and socially, will only make you wonder if we’ve progressed at all.
As the war in Ukraine rages on with surprising support for the MAGA-inflamed populace, The War Game takes on stronger resonance today, if that’s even possible. Yes, friends, it can be worse if we allow such hateful rhetoric to excuse away the evils that are not ready to leave us alone.
I purchased a VHS copy of The War Game years ago off Amazon to complete my legendary collection of nuclear war-themed movies. You can now buy the Blu-Ray version (coupled with “Culloden”). Also, check your local library or indie video store for the DVD of The War Game, and search YouTube and Vimeo for the full-length presentation.
THE DAY THE EARTH CAUGHT FIRE (1961)
Directed by Val Guest
Written by Wolf Mankowitz and Val Guest
Cast: Janet Munro, Leo McKern, and Edward Judd
Chances are you’ve already experienced the century-mark temperatures baking the nation. Still, think climate change is bullshit? Remember that when cities burn, infrastructures fail, and people die from the heat that’s not showing signs of abating. Yet, the topic of a burning planet is not a new one, either. I distinctly remember watching a telefilm called “Heatwave!” on ABC, chronicling a young couple’s desperate escape to the mountains from the growing heat of a big city. First broadcast in 1974, it was TV’s answer to the disaster movie trend. So, where is this leading? The award-winning 1961 sci-fi classic known as The Day the Earth Caught Fire.
While it’s more a cautionary tale about the perils of nuclear proliferation, it lists why we still argue about what we’ve done to overheat this planet. What happens in Guest’s film is tragic and mindblowing in science and fiction. Yet, hearing people bitching about the heat and the state/energy companies’ inability to keep the power grids from shutting down makes me want to make them force watch what could be worse.
True, the conceit of The Day the Earth Caught Fire is the result of what happens to the planet’s orbit thanks to the US and USSR detonating giant bombs on the same day in both the North and South Poles. But when it starts to get hot, the planet reacts unexpectedly, leaving its citizens scrambling for any relief or survival.
What I love about the film is that it centers around how a group of Fleet Street reporters at the Daily Express break the story in the first place, as well as other believable human drama involving the principals, Edward Judd, Leo McKern, and Janet Munro. More, real news editor Arthur Robin Christiansen is prominently featured in the film, adding a nice layer of honesty to the film. The urgency of visuals illustrating water rationing, the burning of London landmarks, and other tragedies make the film a sobering viewing experience.
Far from being a quaint black and white film of the 1960s, Guest deploys an arsenal of effects and human emotion to give the film its resonance. Even the ending is unexpected by leaving the planet’s fate unresolved. Although, it is humorous that the original US release featured an augmented ending of the sound of ringing bells, indicating that science might have spared humankind from being BBQ’d. By the end, however, you’ll respect the sun’s power.
The Day the Earth Caught Fire is available for rent and purchase on most major streaming platforms.
NUEVO ORDEN (“New Order”/2020)
Directed and Written by Michel Franco
Cast: Diego Boneta, Mónica Del Carmen, Naian Gonzalez Norvind, Fernando Cuautle, Darío Yazbek, Eligio Meléndez
Much of the industrialized world faces a widening gap between its socio-economic classes, leading to erratic and alarming shifts in political ideologies with high consequences with each election. Mexico’s economic chasm is no different and gaining further volatility with the rise of American gentrification in its capital city and other parts of the country. The Mexican-French production Nuevo Orden sought to unleash an uncompromising “what if” scenario with wildly uneven but impactful results.
Following its award-winning premiere at the 2020 Venice Film Festival, earning the Grand Jury Prize, the arrival of Nuevo Orden during a pandemic seemed like outrageous misfortune. The appearance of its trailer, featuring images of POC taking over the white elite enclaves, earned a harsh backlash of racial stereotyping in its home country. Despite its acclaim from critics worldwide, citing the film as being powerful and timely, the film continues to earn negative colorism commentary in its post-release life.
Directed and written by Michel Franco, Nuevo Orden chronicles the lives of an upwardly mobile family impacted by the rise of the underprivileged in Mexico City. The effects of class warfare go from the micro to the macro as the invasion of the family’s wedding event is projected upon a canvas of a violent coup. What seemed to be an explosion of one’s group’s frustration with the status quo is painfully revealed to be the machinations of a government seeking to establish a military rule.
Designed to provoke and challenge the safe and paranoid sensibilities of viewers not paying attention to the current news cycle. Franco’s narrative hits individual buttons by focusing on the destruction of the privileged and entitled classes, leading to why hailed as necessary by many of its champions. Unfortunately, Franco loses control of his narrative with the revelation that the military is behind the coup, undermining the more important message of social divides. Unlike Bong Joon-ho’s groundbreaking “Parasite,” Franco cannot sustain the foreboding tension in this clash of economic classes to a gut-punching finish, despite its many bold attempts otherwise. Regardless, as speculative fiction, however, Nuevo Orden does successfully visualize a world of devastating change that could be possible given our current state of affairs in the US and worldwide. Yes, folks, it CAN get worse if we ignore the signs.
As if 2022 couldn’t double down on the crazy any further, clips of people enraged over what they perceive as media giant Disney or our under-siege educators “grooming” their precious Becky and/or Ken to become members of the LGBTQ+ community have the nation transfixed. I offer this counterpoint-slash-reality check to ill-informed agitators in front of Disneyland, Walt Disney World, and beyond.
I’m a 54-year-old gay male, American-born, and of Mexican descent. I am the second child born of immigrants in California and the country they chose to make their home, leaving their own families behind. Coming to America was their choice, and my siblings and I could not have flourished better under their watch and care as their American-born children.
There. I said it. I’m gay. No one made me “this way.” No one groomed me. I led myself to the LGBTQ+ community through an inherent need to feel safe and visible. First, I reconciled my fears as to what society would think, and, especially, my parents. Devoutly Catholic and structured in terms of their principles, their difficulty in accepting my truth remains a painful episode. However, it is a period that mercifully was made easier by the support of my siblings, turning my parents around in terms of what losing would mean to them all.
I remember my first real conversation with my mom one afternoon after I came out. I took her to lunch and a movie. She was a wee bit subdued at first, but slowly, she’d pepper our conversation with direct questions about my sexual identity. I explained that choice had nothing to do with my sexuality. No one molested me. No one influenced me. It just felt like the most natural thing in the world.
I distinctly remember realizing when I had no attraction to the female gender. It was in 1976 while watching a first-run episode of “The Bionic Woman.” (It was the multi-part “Kill Oscar” storyline that was a cross-over with “The Six Million Dollar Man.”) I want to think something about the image of Steve Austin fighting off the evil Fembots in hurricane-tossed Hawaii wearing nothing besides his mustache and a pair of swim trunks was what made me take notice. His hairy chest was swoon-worthy. Of course, I kept that to myself and spent the next 15 years lying to myself about my sexual identity.
Perhaps that TV memory was or wasn’t the moment. Perhaps I knew I was gay after listening to my Dad’s original cast albums of My Fair Lady and Camelot, both featuring Julie Andrews. (He saw BOTH original productions on Broadway, which still elicits feelings of jealousy today.)
Maybe it was when I discovered Linda Ronstadt’s first and glorious recording of American Songbook classics, “What’s New” in 1983. Maybe it was Maria Callas singing opera or the Burt Bacharach/Hal Davis catalog, genres my father also introduced to me. Or maybe it was my first time watching Rosalind Russell rip through “Rose’s Turn” in the filmed version of Gypsy? All of this happened during my formative years as a kid.
The first film I remember seeing in a movie theater was Disney’s The Aristocats in 1970. Did a subliminal message exist within the song “Ev’ry Body Wants to Be a Cat?” Was it hiding code to turn me gay? Please, I wanted to be a cool cat. However, it did inspire me to have a career in the filmed arts, which began in earnest at the age of 19 and continues to engage and inspire me today.
Oh, and how I can forget the first song I learned by heart as a child! Yes, that honor goes to Petula Clark’s 1964 monster hit, “Downtown.”
Better yet, my identity as a child of Mexican nationals provided a broader selection of art and artists to further inspire and give my life an incredible context. Hearing my mom’s favorite music of her youth meant Lola Beltran, Jorge Negrete, and Pedro Infante would also teach me about the language and spirit of a people that experienced the power of oppression and conquest, too. Assimilation may have won the first battle for my soul, a time when I referred to myself as “George.” Life experiences, maturity, and pride brought me back to Jorge, also the name of my father.
I gravitated to these artists because they inspired me to want to know more about a world that extended beyond my Chicano suburban existence in Pico Rivera, CA. I felt connected to the art and artists that remain my greatest mentors and heroes. Not just because the gay community favors them; instead, they endure because they were pioneers to appreciate. That I’ve met many aficionados who happen to be gay men is the icing on the reality cake, validating that Los Gays possess incredible cultural taste.
The point is that we are ALL influenced by a broad variety of external social, political, and cultural forces in a lifetime. I firmly believe our sexual and gender identities, however, are truly biological, not bids to merely find ourselves “more interesting.” Exceptions exist, sure. But to generalize and marginalize an entire community to fit an agenda? No. When politicians dare to prey on the fears of the weak and uneducated, the results can be irrevocable. The devastating truth about Florida’s “Don’t Say Gay” Bill and other such discriminatory legislation is this idea of forcing conformity on young people. Such blind homogenization is both dangerous and damaging in that it stigmatizes what is entirely natural and pure.
Again, during my elementary school life, I knew I was different, but I lacked the awareness and words to understand why. The awareness would arrive much later and it ultimately made perfect sense once I stepped away from the fear. A voracious reader as a kid, my teachers could not keep up with my pace of finishing all the material on their curriculum. These outstanding and dedicated educators resorted to giving me things NOT on the curriculum that would nurture and encourage my ability to process and understand different narratives. It affected how I related to the other kids, most of whom had no idea what I was talking about most days. Hell, my vocabulary alone was enhanced by my reading my parents’ issues of Newsweek, the LA Times, and the LA Herald-Examiner. I had to know what they knew, too, about the world.
As a result, my cultural references were not things that mattered in my classroom or playground. It felt worrisome to me, so I suppressed certain parts of my personality to “fit in” or conform with the larger group. It remains my biggest regret to this day, this desire of being ignored or left behind. Censoring myself to stop the bullying and social isolation meant killing the part of me that brought me such joy and pride. I saw the bigger picture, and I knew it would lead me away from the suburbs to find the place that would understand and encourage me to be the best version of myself, not just my sexual identity.
Our young people desperately need advocates and champions, not a group of red hat-wearing pod people from “Invasion of the Body Snatchers” telling them they’re invisible. We need a greater understanding of sexual and gender identity, not criminalizing what remains a real struggle for so many innocent people. Choosing not to care or recognize the importance of gender and sexual identity is reckless and can be dangerous, even deadly, for those who have no emotional support. We have to find a middle ground, not promote a mantra of “grooming,” which is frustrating and sickening.
I can’t understand how people like DeSantis think forcing people to subscribe to ONE point of view cannot be considered an act of “grooming.” How is indoctrinating generations to espouse every “ism” found in the fear-mongering GOP playbook a civil and just act? This demented cry of “Beware Woke Culture” features once-benign terms appropriated and weaponized, again, by the right to conjure up yet another Boogeyman of panic, this time in the shape of Disney.
Fighting Disney is nothing more than a malignant weapon of mass distraction launched by a party that only deals in regression, not progress. It wasn’t so long ago that people chastised Disney for being extraordinarily slow in creating works that genuinely reflected the diverse faces and cultures of the world. Today, kids – and adults — can see and hear themselves in many of their favorite films and TV series, something denied to countless generations.
How dare Gov. Ron DeSantis and his rabid-mouthed ilk think they can legally force so many of our youth BACK into a closet with acts of stigmatization and fear. How does that serve the greater good of our evolving society? What scares his acolytes more about the presence of people who do not conform to sexual or gender norms? They label us all pedophiles and purveyors of dangerous liberalism when leaders like DeSantis wrap themselves in a divisibility cloak of evangelicalism, shielding their abject ignorance and cruelty.
DeSantis knows what scares people who do not care or want to possess a broader worldview. His brand of anger is nothing new, but he’s learned to refine such a message thanks to the internet and a media complex incapable of stopping coverage of the clown cars driven by people like Texas Governor Greg Abbott, Reps. Marjorie Taylor Greene (R-GA), Lauren Boebert (R-CO), Madison Cawthorn (R-NC), and Matt Gaetz (R-FL). Oh, let us not forget the Grifter Dynasty of Donald Trump, a debacle that led to an insurrection and the proliferation of several “Big Lies” extending beyond the 2016 and 2020 elections.
Full disclosure, I am proud of my time as an employee at Disneyland, learning much about people and storytelling thanks to the countless amount of guests that felt comfortable sharing a little piece of their lives with me as they waited in line to board a ride. That comfort level drives my career as a producer/interviewer of studio-produced content today.
I worked for Disneyland while attending California State University at Long Beach from 1989 to 1991. I spent those two years working primarily in Adventureland and Frontierland as a Jungle Cruise skipper, Tiki Room host, and on the Big Thunder Mountain and Mark Twain crews. Perhaps I took a photo of your parents as kids enjoying the day. Maybe they took a picture with me, smiled and laughed at my jokes, or even teased me for working at the park. Either way, not one guest knew much about me or any cast members on site that day. Fate brought us together to exist in the same space. All we had in common was being at a place designed to make good memories.
I still see the looks of relief and comfort when I would speak to a guest in Spanish, establishing a connection to the park in a way they could understand and interact with on a personal level. I will never forget creating the wheelchair section for the disabled guests, many of whom had never been to the park before, like many children and adults visiting that day. During the Main Street Electrical Parade, that combination of light, music, and their favorite characters elicited so many good and positive emotions two times nightly. Again, my crewmates and I did all we could to ensure our guests had a good time and did not feel judged for their disabilities. We would often receive a handshake, a “Thank You,” or a squeeze on the shoulder for jobs well done.
That is the power of the Disney experience. You don’t have to share in it, but don’t ruin it for people, either. The key design feature of the Disney universe is to be a home for everyone, regardless of their views or backgrounds. Is it perfect? Nothing in the world can make that claim. But it matters to millions of people around the world, nonetheless. We must look like savages to them, which saddens and angers me. The message of being the “Happiest Place on Earth” is taken seriously by its many employees, past and present. Because that’s what matters first – the ability to make sure you are happy and safe in that space for however long you visit.
Projecting all this perverse hate and bile onto that sentiment to serve someone else’s ego is a slap to the many of us who gladly made sure YOU were a satisfied guest. Why should any of you care what we do in private? I can guarantee you that is the last thing on our mind when facing a guest. Nor is anyone looking for converts, a grotesque and ridiculous notion. It is the same in any business; you focus on the company and clients to make sure they return.
I want to think education can help stem the tide, but not in this climate of turning back the civil rights clock and the banning/burning of books that could illuminate the path to tolerance and respect. No, the river of America churns and roils with anger, fear, and desperation thanks to people who feel it’s their duty and God-given right to stop a world they feel no longer belongs to their kind. Revolutions start with exhausted masses no longer willing to be force-fed a steady diet of lies, contradictions, and hatred for those who want to make the world a better place. If they only knew people like DeSantis don’t care how they get their votes to win. They only care about keeping their positions in power to fulfill their agenda of authoritarianism.
I can only offer this poem from Pastor Martin Niemöller (1892–1984), a respected Protestant clergy who dared to speak publicly against Adolf Hitler in public. His dissension led to his spending seven years in concentration camps. This poem, written in 1946, continues to reverberate with even greater power today.
FIRST THEY CAME
First they came for the socialists, and I did not speak out—because I was not a socialist.
Then they came for the trade unionists, and I did not speak out— because I was not a trade unionist.
Then they came for the Jews, and I did not speak out—because I was not a Jew.
What makes any of us think Generation Blame, Whine, and Hate will not turn against the rest of society, refusing to conform or subscribe to their violently ignorant agenda? You’re deluding yourself if you think keeping them in power will improve your life. On the contrary, as history has proven, it is just the beginning of something so much worse.
As Pastor Niemöller concludes in his poem:
Then they came for me — and there was no one left to speak out for me.
Self-aggrandizing media whore Piers Morgan is getting some mileage by his none-too-surprising revelation that First Grifter Daughter Ivanka Trump reached out with a nice text. Mind you, Morgan has a new talk show surfacing soon, so consider that little news drop a call to arms for his rabid fanbase of MAGA and other malcontents with no soul.
Deadline reported that Morgan “received a text of congratulations from the former president’s daughter when he got his new job with TalkTV, the brand new television channel of Rupert Murdoch’s News UK.”
Morgan’s response to La Ivanka? “Best to all the family.”
Yuk yuk. Morgan and Trump famously fell out in 2020 when the headline-chasing “journalist” declared that “Trump’s policies were ‘stupid, reckless and dangerous’ with the disgraced and impeached 45 unfollowing Morgan on Twitter.
Oh, the horror.
La Trump fille added to her text, “Actually, I’m with Dad and Jared now.” To which Morgan offered, “Well, tell your dad’ – I thought I’ll be careful about how I phrase this – ‘tell your dad I almost miss him.” These paragons of entitled white rage then shared a laugh.
This is from the man who recently compared himself to Nelson Mandela. Hit the link below, if you dare.
At one point to we stop this side-show of soulless, manipulative rabble-rousers hellbent on destroying what little integrity is left in the great craft of journalism? This whorehouse of narcissists putting their hatred on blast is shredding whatever dignity we have as a society.
Reading some of the reviews on Kenneth Branagh’s adaptation of Agatha Christie’s DEATH ON THE NILE faulted the current Oscar nominee (“Belfast”) for not crafting an edgier take on the genre like “Knives Out.” I beg to differ.
Branagh, whose “Dead Again” remains one of my favorite modern mystery thrillers, conjures the sexier and edgier side of Christie’s famed novel into the 21st century in a surprising way. Remixing the narrative by bookending the film with the cause and effect of tragedy in the renowned detective Hercule Poirot’s life, the wicked mystery of a recently married heiress’s murder on the Nile takes on a fascinating rhythm and purpose.
The film’s winning ensemble cast featuring such standouts as Gal Gadot, Annette Bening, Sophie Okonedo, Leticia Wright, and a dashing Armie Hammer is more cohesive than in Branagh’s “Murder on the Orient Experience.” The journey finds its spark with teasing sexuality, comic energy, glamour, and thrills set against breathtaking locations and exquisite design. DEATH ON THE NILE is no stuffy museum piece for the older set.
Like Branagh’s take on “Murder on the Orient Express,” it is a visceral and engaging film experience in the style that embraces what Hollywood still can do best on the silver screen.
The wannabe emperor still has no clothes, clue, or conscience. At what point do we all wake up from the nightmare that is Trump? The pervading lies and myths he spins remain as toxic as ever, edging us closer to oblivion.
Stupidity does have a habit of getting its way. Time to cure our MAGADdiction once and for all.
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’ve been stalling in writing a post-mortem on Steven Spielberg’s emotionally resonant and superbly crafted adaptation of West Side Story. Not only is it Spielberg’s best film in years, but it is also exactly the kind of moviegoing experience that deserves to be championed. Yes, it is THAT good.
It seems trite in the face of the pandemic news cycle and the growing storm clouds of war in Ukraine to offer any analysis. Yet, I’m oddly compelled to weigh in anyway because it is hard not to feel that audiences and studio culture let this movie down.
Revivals on Broadway remain part of its lifeblood in art and commerce. When they connect, they can usher in new generations of theater fans. Sam Mendes and Rob Marshall’s 1993 production of Cabaret remains a marvel of reinterpretation. Susan Stroman’s take on The Music Man in 2000 and Jerry Zaks’s 2017 production of Hello, Dolly! brought out new colors and injected vivid spirit with its star power and inventive theatricality blend. This year, Marianne Elliott’s gender-switched production of Stephen Sondheim’s seminal Company earned love letters from a theatrical community eager to return to the business of entertaining audiences. So why can’t this phenomenon happen for film versions? More, why didn’t it happen for West Side Story?
Were adults afraid to return to cinemas in a pandemic? Sure. But that didn’t stop the recent spate of Marvel films, Dune,No Time to Die, and House of Gucci, from filling seats, which included many adults in the demo mix. Did the post-Glee generation lose interest in musical film? Maybe. Despite its being explicitly marketed to them, audiences avoided Dear Evan Hansen, but that didn’t dissuade releasing studio Universal from greenlighting the international juggernaut Wicked for the screen. Is it a dying or dead genre? Explain that to Bill Condon’s sparkling take on Dreamgirls, or Tom Hooper’s Les Miserables, the Mamma Mia! franchise, and The Greatest Showman, all of which were fueled by big names and turned out to be major box office in a world before the lockdowns shuttered cinemas brought the moviegoing cultural experience into an uncertain future.
Looking at the recent soft openings of Jon Chu’s stellar adaptation of Lin-Manuel Miranda & Quiara Alegría Hudes’s Tony-winning hit In the Heights and Spielberg’s West Side Story is perplexing as both films earned some of the year’s best reviews. Neither lived on as museum exhibits, something that plagued Clint Eastwood’s disappointing treatment of Jersey Boys in 2014. Heights and WSS both possess a vitality and freshness that makes going to the movies an absolute joy again, transcending their theatrical roots but not abandoning them. More, seeing real people express themselves beyond the blasts of special effects and neo-classic heroism is true magic. The expert craftsmanship fills every inch of the big screen along with casts, dance teams, design aesthetics, and musical scores overflowing with enthusiasm and possessing an even greater cultural purpose. However, here’s where things get a little complicated, though. Is spotlighting the effort to embrace cultural authenticity and diversity in the filmed arts turning off audiences on both sides?
As a Latino, it did my heart good to see the talent, sounds, and complex cultural realities of what it is to be from all parts of Latin America. We cannot always see such shows on the stage thanks to economics and the appearance of these works being solely made by and for “gringos” and “wannabe white” gente. That is not a gross generalization, either. While Fiddler on the Roof can pack them in regardless of the year of the production, Latinos are hard-pressed to partake in the Broadway or touring productions of shows that focus on their narratives. The reality is shows like West Side Story and In the Heights will endure in schools, colleges, and amateur productions for a very long time. Yet, you can’t deny that they still feel like niche audience caviar when blown up for the silver screen. Worse, they are now targets for the woke political machine seeking to eradicate the “whitewash” in terms of representation.
The colorism debate that side-swiped In the Heights was devastating and demoralizing to watch happen in the weeks leading to its release last June, a situation made worse by apologies from its creators and supporters for not trying hard enough. They had no reason to apologize. The works speak positive volumes that cannot and should not be ignored or diminished.
Months later, notice the campaign mounted for West Side Story, which opted to render the entire cast with the same beige skin tone with an artfully placed red, white, blue, and star flag. Subtle politicking from the liberal elite? Perhaps. But telegraphing “We are making a HUGE effort to tell ALL stories” is not the same as just letting the stories speak for themselves or weaving their cinematic spells without seeking approval or validation for promoting positive cultural representation.
Watching the studios patting their backs for their efforts is insulting enough. Knowing the executive suites do not include our voices in their mix is worse. How can they even begin to gauge how Latino audiences will react without someone from the community in their team to highlight the sensitivity minefields? More, what happens when you take the time to cull materials in Spanish, only to see the footage languish in the can, utterly ignored? This is something that I’ve experienced as a content producer several times, a symptom of tone-deafness that still permeates the marketing offices in Hollywood.
Heights and WSS feature extraordinary Latino talent in front of and behind the cameras. The sights and sounds ring true because we see and hear them from the people who look like and sound like us. Is it a perfect rendering? No. Is it a crime they should exist? Hell no. It is easier for some to process a Coco, for example. Yet, why did Encanto have a more challenging time reaching the same heights, despite its reviews and being a beautiful film for all audiences? Did it play its cultural card too hard? Or maybe its message was too foreign compared to the celebratory nature of Coco? The grey areas are endless here.
What saddens me most about the problems faced at the box office by In the Heights and West Side Story is that the appearance of failure of these high-profile titles will make it harder for other Latino-focused stories to be made or given the big-screen treatment. Director Eva Longoria’s Flamin’ Hot, due in 2022, will be yet another litmus test to raise these issues all over again, adding further pressure to la causa.
It is a curious thing. Thanks to streaming, Latin America is exploding with talent and fresh inspiration, with such boundary-smashing series and films as La Casa de la Flores, El Baile de Los 41, El Juego de las Llaves, Luis Miguel: La Serie, Acapulco, and the upcoming Señorita 89. Chilean filmmaker Pablo Larraín’s company Fabula and Pantaya, Apple, and Amazon Prime Video are crafting slates of original films and series that rival the best of what the American studios and streamers are offering. Why can’t some of these stories make their way up to el norte, too? We have the talent and the narratives that go way beyond dead rock stars and cholos. We need more faith in their realization and trust from the community beyond The Fast and the Furious-type IP.
Perhaps the disconnect between audiences and critics is the real culprit, a chasm that is as wide as it’s ever been and growing. Maybe the marketing efforts of leaning into diversity and inclusivity feel too much like moralizing, prompting audiences to ignore the “message” titles to just be “entertained.”
Reasons exist why the Marvel tent poles play to all demos. We know what they are before we take our seats in the cinema. Maybe it is time to stop leading the audience with the obvious or safe messages and let the intrinsic quality of a good story and singular artistry lead the way again. One way or another, audiences will find a reason to watch again in a way that makes them comfortable, secure, and inspired by what remains the greatest of art forms.
Writer’s Note: It is important to disclose that as a content producer, I am part of the team involved with the campaign for “In the Heights” and the upcoming “Flamin’ Hot.”