“Dog Almighty.” A Thanksgiving analysis of the films Boy Erased, The Front Runner, and Isle of Dogs

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There is no question that this world feels more than a bit broken these days. Over this Thanksgiving holiday, we took in three films that all deal with our shared past, present, future imperfect in poignant, heartrending, riotous, and allegorical ways: Boy Erased, The Front Runner, and Isle of Dogs. In essence, all three deal with the fact that our world is governed by people who don’t always have our best interests at heart … nor, in fact, have any interests but their own in mind.

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Boy Erased, based on Garrard Conley‘s best-selling memoir, is a gut punch with a surprisingly light touch – as much about family, faith, being true to one’s own self, and integrity as it is about the horrors of gay conversion therapy. Directed with a balanced and nuanced approach by Joel Edgerton (who also plays the head conversion “therapist” with a refreshing lack of Snidely Whiplash-ism), the film withholds judgment on well-meaning parents whose hearts are in the right place even if their actions couldn’t be more out-of-touch. Nicole Kidman and Russell Crowe are absolute magic as an Arkansas couple whose capital-C Christianity defines every square inch of their lives. He is a pastor AND runs a Ford dealership where the salespeople begin each day with a group prayer. Ah, the American Southland. Am I being judgy? Ah well.

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Lucas Hedges ably portrays their prototypical all-American golden boy Jared – a basketball-playing, cheerleader-dating, Mustang-driving alpha-male-in-training. Except, he isn’t. He’s a sensitive and dutiful son following the recipe-for-life set before him by his noble if misguided parents, still striving to define himself in a world far too ready to box him in with hetero-normative conventions. The irony is that Jared is the purest soul, lost amidst elders who purport purity yet are more obsessed with human sexuality than the supposed “deviants” they seek to condemn. The textbook definition of “thou dost protest too much.”

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The chief strength of the film is how believably this trio of acting pros – Kidman, Crowe, and Hedges – weaves together a family dynamic that is sad and warm and funny and never melodramatic. This is an essential film and must be viewed by everyone, particularly those arrogant and hypocritical enough to weigh in on social issues that they lack the empathy to fully comprehend.

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What is it about Australians – like Crowe and Kidman – that they are capable of translating the American experience to film better than most Americans? And here we have fellow Aussie Hugh Jackman offering a pensive, detailed, reserved, dynamite turn as 1988 presidential hopeful Gary Hart in director Jason Reitman’s stellar flick The Front Runner. Jackman is aided and abetted by the always magnificent Vera Farmiga as Hart’s long-suffering but never victimized wife. Jackman and Farmiga are a formidable acting combination, and I would love to see them do something again soon.

Jackman has always been a twinkling presence (a true blue Greatest Showman) – sometimes even a glowering, steroidal, twinkling presence  (Wolverine … and Jean Valjean) – but I had my doubts that he had the chops to be unapproachable and unlikable yet still admirable in a ripped-from-the-headlines character role like this. I was wrong. (I do think his hair and makeup people should be fired, though, for the weird dusty mop they plopped on his noggin in the film.)

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Reitman has surrounded his leads with a fantastic supporting cast – including exceptional JK Simmons and Alfred Molina as two sides of the same benevolent puppet-master coin, the first as Hart’s campaign manager and the latter as The Washington Post’s editor. Furthermore, Reitman uses the controversy surrounding Hart’s infidelity which derails his campaign as a sharp-eyed allegory on today’s contentious and never-ending donnybrook between politicians and news media.

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Is a public figure’s personal life fair game for the media? Is a private transgression a worthy public measure of integrity? Do people care, or do they only care when it benefits their party of affiliation? And what of the ongoing invisibility and disposability of women in said process, be they spouse or mistress or aide or voter?

The film raises all of these questions in the context of what once seemed a charmingly bygone era, yet offers us, today, no easy answers. Significantly, Reitman turns the mirror on ourselves, challenging the viewer to assess his or her own culpability in perpetuating this madness, and that is a marvelous hat trick.

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But would you believe me when I said that the best and most pointed analysis of our current milieu comes from what is ostensibly a children’s animated film about dogs banished to a garbage heap island by a Japanese magistrate who prefers cats over canines? I predict masters theses will be written about Isle of Dogs at liberal arts colleges and universities all over the land 20 years from now.

I’m not crazy about director Wes Anderson. Twee sarcasm is not usually something that screams “great night at the movies” to me. His Isle of Dogs (now on home video), blessedly, is anything but.

Imagine Richard Adams’ novel Plague Dogs or George Orwell‘s Animal Farm adapted to film by Quentin Tarantino, using Manga-stylized puppets and stop-motion animation. Isle of Dogs is sweet-natured yet caustic, escapist yet blisteringly critical, whimsical yet horrifying. If there is a movie that pushes and explores and avails itself of every inch and vista what the artsy fartsies call “cinema,” this is it.

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The script is layered and thoughtful and addresses everything from animal rights to totalitarianism to the twin toxicities of apathy and wishful thinking. The film’s core message, beyond that we should be kind to animals and to each other and that tolerance and inclusion heal? It’s this: if you want this damn world to change, get in there and change it. Anderson seems to be directly addressing any children watching his film that if you see oppression or evil, take it upon yourselves to stop it. Adults are too fat and lazy to care. The young human protagonists in this film are heroic in a way that goes beyond the fantasy role-playing of, say, Dorothy Gale or Katniss Everdeen, presenting young audience members with salient and actionable examples to follow.

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Oh, and the voice cast is to die for, including Bryan Cranston, Scarlett Johansson, Ed Norton, Bob Balaban, Bill Murray, Jeff Goldblum, F. Murray Abraham, Greta Gerwig, Tilda Swinton, Liev Schreiber, and, yes, Yoko Ono. The titular dogs are, yes, adorable but with agency and surety and never one moment of infantilism.

Hot damn!

Thanksgiving is a time of reflection and appreciation. It’s also a time to think about what’s next and where you want to go. This seemingly serendipitous combination of films does indeed add up to a pretty important road map. One worth following. For that, I am thankful.

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“Life is what happens to you while you’re busy making other plans.” Beautiful Boy (film)

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Felix Van Groeningen’s film adaptation of David Sheff’s memoir Beautiful Boy is, alas, one of those movies that doesn’t do anything terribly well. Neither poignant and tear-jerking nor haunting and horrifying, neither evocative and transporting nor gritty and (forgive me) sobering, Beautiful Boy attempts to be a harrowing account of a father (Steve Carrell, all professorially hirsute and mincingly whiny) watching his beloved first born (Timothee Chalamet, all Gen X shaggy and sullenly whiny) circle the drain of crystal meth addiction.

I wanted to care. I wanted to be invested. I hear that the book is quite compelling. Perhaps I should have spent my time reading it instead.

This is the kind of film that makes me understand why the Fox & Friends tin-foil-hat brigade hates us liberals. The family in the film is all northern California boho charm, too cool to parent exactly right, having only momentary flirtations with actual discipline. Why read your kid the riot act when you can smoke a doobie all-hipster style with him at his high school graduation? This is the kind of film where stepmom is a groovy painter (Maura Tierney, all furrowed brow pout and earnestly whiny); dad’s manopausal new toe-headed toddlers never get haircuts and have cutesy names like Jasper and Daisy; the family pads around super-casz in their sprawling Frank Lloyd Wright-esque redwood-and-glass ranch; and they tool around town in a vintage Volvo station wagon (“boxy but good!”) with two bounding retriever mutts in tow. Lord, these people annoyed me. “Hey, we’re having a crisis that would cripple any normal family … so let’s all go surfing.”

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The film only manages to grind to some kind of life in its final 20 minutes as Carrell’s David Sheff finally writes off a son who is beyond redemption and Chalamet’s “beautiful boy” Nic Sheff truly hits rock bottom as a result. This is where the film’s bloodless dispassion does pay off. We, as an audience, have grown as numb and as immune as David to Nic’s manipulations, so when we see Nic at his most disgustingly debased, we realize that Nic’s only way out is to come face-to-face alone with his demons (and they are legion). End scene.

I’m not sure what this genre of film should be called: “Pretty hippies with moolah have troubles too?” I blame Wes Anderson and Noah Baumbach and Lisa Cholodenko and their self-indulgent directorial ilk. I attended a “magnet school” growing up in Fort Wayne, Indiana, and the campus was rife with kids from clans like that in this film; I’m guessing these directors are likely my age and came from similar upbringings as those classmates of mine. I’m probably just a cranky old fart at this point, but if I was even drinking too much Coca Cola as a teen, you’re damn well certain my parents wouldn’t just look casually over their shoulders as I passed through the front door to God-knows-where and say, “Have a good time!” I’m being judgmental, but then why else do we watch movies like this, if it isn’t to walk away empathizing “glad that’s not my life”?

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I should probably say more about about the movie. It’s a bore. A crashing bore. I wasn’t sure if the film wanted to be a navel-gazing After School Special cautionary tale on the dangers of drugs or was simply in love with its own masturbatory misanthropy. It’s two hours of my life I’ll never get back.

If I want to watch a film that crawls under my skin and nails the familial destabilization substance abuse can cause, give me Long Day’s Journey Into Night, The Days of Wine and Roses (at least that one has a lush theme song), The Lost WeekendLess Than ZeroTrainspotting, The Fighter or, hell, 28 Days.

“Life is what happens to you while you’re busy making other plans.” Indeed.

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“Our blackness is the weapon they fear.” The Hate U Give (film review)

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A young woman, torn between two worlds, discovers her voice and her resolve and becomes a champion of her people in the face of tyranny. This trope has long-defined a good chunk of young adult fiction from The Wizard of Oz to The Hunger Games, Alice in Wonderland to Divergent. However, those works use allegorical fantasy to safely distance the reader from the tumult of real-life. Oh, and those works all feature a female protagonist who is white. There may be a sidekick or two of color, but that’s it.

Angie Thomas jettisons the allegory and brings us face-to-face with the racism, sexism, and economic disparity crippling our country in her young adult novel The Hate U Give (title courtesy of a 2Pac lyric), now sure-handedly adapted into film by director George Tillman, Jr. (Soul Food, Barbershop, Notorious).

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African-American teen Starr Carter – portrayed in the film with exceptional fire and presence by Amandla Stenberg (The Darkest Minds) – is a luminous and high-potential presence at Williamson, her all-white, upper-class high school . Her principled parents (Girls Trip‘s Regina Hall and Fences‘ Russell Hornsby delivering just the right mix of haunted bravery and pragmatic compassion) have kept the family residing in neighboring Garden Heights – a hardscrabble community riddled with gun violence, drug lords, and countless dead ends – to remain close to their roots, but they drive their kids to Williamson to give their progeny a leg up on their education. I suspect there is a lot that could be written about those parenting choices (pro and con), but that is the narrative conceit around which The Hate U Give‘s story revolves.

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One night, after attending a house party in her home town, Starr witnesses one of her dearest and oldest friends (a heartbreakingly charming Algee Smith – Detroit) gunned down in a routine traffic stop. The narrative then tracks her challenges overcoming her own fears and those of her parents – re: taking a stand and testifying – as well as her burgeoning realization that her well-intentioned but myopic classmates don’t know the first thing about the daily dangers Starr faces in her own neighborhood.

Tillman’s film is a gut punch, particularly in its nuanced first hour, as we are introduced to Starr’s world(s) and trace the tricky balancing act she performs every day. If there is a flaw in the film, it is that – due to the time-limitations of film versus novel – the Williamson side of Starr’s life is relatively unexplored and her school chums remain ciphers, chiefly providing the occasional plot complication and little more.

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The supporting cast is exceptional: Selma‘s Common as Starr’s loving but arguably hypocritical policeman uncle who collects a paycheck while (sort of) accepting the party line to “shoot first, ask questions later”; Captain America‘s Anthony Mackie as a local drug lord who was once best buds with Starr’s father and whose children remain Starr’s pals; Riverdale‘s KJ Apa wringing his Archie Andrews best from an underwritten role as Starr’s boyfriend; and singer Sabrina Carpenter (“Thumbs“) as one of Starr’s besties who devolves into the junior version of Laura Ingraham before Starr’s very eyes.

Apparently, I will spend this autumn in the multiplex in a puddle of tears. A Star is Born gutted me, and, now, The Hate U Give had the same impact. The latter film grows increasingly predictable as it reaches its climactic moments, but it is so well-executed with such authenticity and is so sensitively relevant to the callous and cruel days in which we are living that I found myself having about 12 ugly cries through its running time. I attribute that, not only to Tillman’s confident and workmanlike direction, but to performances – particularly Stenberg’s, Hall’s, and Hornsby’s – that stubbornly refuse to embrace cinematic escapism. This family is a loving one, rife with disagreements, but ultimately wanting to rise above the fray and simply live.

We all want that. We all need that. We all deserve that. Yet, every day when I read the headlines, that seems to be an increasingly unattainable pipe dream.

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[Image Source: Wikipedia]

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

 

“I just don’t want to lose the part of me that is, you know, talented.” A Star Is Born (2018)

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I wasn’t certain the world needed another version of A Star Is Born: 1937 – Janet Gaynor and Fredric March; 1954 – Judy Garland and James Mason; 1976 – Barbra Streisand and Kris Kristofferson; and now 2018 – Lady Gaga and Bradley Cooper. And we nearly had a version starring Beyonce and directed by (shudder) Clint Eastwood.

(I’ve always thought they should revisit the Garland musical with Hugh Jackman and Anne Hathaway, but, alas, I think that ship has sailed.)

I was wrong about the need for this latest version. Dead wrong. Director and star Bradley Cooper has made an exceptional film and the perfect version of this timeworn story for our post-millennial malaise.

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For those who’ve seen any or all of the previous versions, the familiar fractured fairy tale story beats remain: male star at his peak meets female unknown; the parabolic trajectories of their respective careers intersect as hers is on the ascent and his is …not so much; he has substance abuse problems; she wins a major award and he embarrasses the crap out of her on live TV; things continue to spiral and tragedy ensues, but like a phoenix from the ashes, she reclaims her destiny in a triumphant final number. Exeunt.

Yet, this version is unlike the others. The simplistic, melodramatic narrative belies a more nuanced approach that jettisons broadly drawn archetypes and he said/she said outright villainy. Rather than mire in toxic masculinity his character Jackson Maine (an homage-in-name-only to James Mason’s “Norman Maine” in the 1954 film), Cooper gives us a man broken by such impulses (as evidenced by his neglectful father), a man whose heart is so shattered that all he knows to do is sing and drink (a lot). But he’s not mean. He’s basically sweet. Lost. And consummately effed up.

Following a concert performance and in pursuit of more liquor, Jackson stumbles into a drag bar, and, rather than act like a macho jackass, settles in and enjoys the show. Lady Gaga’s Ally is an occasional performer there, and her version of Edith Piaf’s “La Vie En Rose” catches Jackson’s eyes and ears.

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In all other versions (at least as I recall), the story takes a Svengali-like approach in that the male character remakes the woman into the titular “star.” She is beholden to him, at some level, for her success – or at least he thinks so, and the less-enlightened dudes in the audience might inadvertently sympathize with his plight.

Cooper, working from a script written in collaboration with Eric Roth and Will Fetters, offers a more balanced approach. These two incomplete souls heal each other, with Ally’s spirit and agency bringing much needed light into Jackson’s world and he merely holding open the door through which her natural talent can shine.

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As a result, the dynamic changes greatly in the second and third act, wherein, in other versions, the male character  typically becomes a fiend. Jackson isn’t a fiend. He’s just a mess. That is both refreshing and a tad problematic story-wise. We see Ally transform into a pop diva over which Jackson becomes mildly contemptuous … and she ain’t having any of that. “I don’t want to lose the part of me that is, you know, talented,” she notes. Ally is very much her father’s daughter (Andrew Dice Clay is manopausal magic as her doting meat-head daddy); and she may be a devoted caretaker (to Jackson, to her family), but she is no sucker. The disastrous co-dependence that derails the couples in other versions of the story isn’t as evident (that’s a good thing), but it does tend to take a little steam out of this iteration’s mid-section as we wait for Jackson’s disaffection for the industry (and himself) to lead inevitably to some heartbreaking choices.

I don’t want to spoil anything for those who haven’t seen previous takes on the story, but things don’t end well for Jackson. Cooper stages those moments so delicately, so artistically, so humanely. And when Ally has her final “say” through song, there isn’t a dry eye in the house.

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As for the music? That is the third star of this crackerjack film. Written by Lukas Nelson (Willie’s son), Gaga, and Cooper, the songs are a touch Black Keys, a bit Shooter Jennings, and not exactly my cup of tea, but utterly perfect in context. This is the rare movie where the moments that work so well in the trailer work even better in the finished product. You’ve seen the highlights, but you have no idea how impactful they will be in context.

“The Shallow” is most likely to become the “I Will Always Love You” or “My Heart Will Go On” inescapable movie hit of this decade. However, in the film when Ally takes that stage and Gaga’s triumphant, hurricane wail lets loose as the ultimate validation of a female voice that has been ignored and mistreated? Your hair will literally stand on end. Gaga is a fantastic talent – she knows how to break your heart and then turn on a dime and allow you to soar alongside her. That’s a rare gift. Cooper does such a fantastic job staging the thunderous concert footage, you truly feel immersed in the performative aspects of these characters’ lives.

At one point, Sam Elliott – all beautiful silvery Sam-Elliott-trademark-gravitas as Jackson’s older brother (it makes sense in the film) – intones to Ally, “All the artist can tell you is how they see those 12 notes [in an octave]. Jackson loved how you saw those notes and what you had to tell.” At core, this is a film about compassion and about intention and about loving those who love us no matter how broken we/they may be. Jackson sings, “Maybe it’s time to let the old ways die.” Indeed, it’s well past time. Well past time.

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[Image Source: Wikipedia]

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).

In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“Secrets are like margarine.” A Simple Favor and White Boy Rick

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We wear the mask that grins and lies,

It hides our cheeks and shades our eyes,—

This debt we pay to human guile;

With torn and bleeding hearts we smile,

And mouth with myriad subtleties.

– “We Wear the Mask,” Paul Laurence Dunbar

 

“Secrets are like margarine. Easy to spread but bad for the heart.” – Stephanie Smothers (Anna Kendrick), A Simple Favor

“What can I say? I’m a glass-half-full kind of guy.” – Rick Wershe, Sr. (Matthew McConaughey), White Boy Rick

 

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Ah, American hustle and the dark truth of the Horatio Alger myth: you can be anything you want to be in America and have as much success as you can stand as long as you deny your true nature and, arguably, your humanity. If there is a through line in A Simple Favor and White Boy Rick, this weekend’s two big “fall films” (movies that lean into Oscar season and don’t star an alien Predator), it is that very truism and the resultant deception and self-loathing that accompanies it.

 

A Simple Favor is stylishly directed by Paul Feig, whose previous efforts Bridesmaids, The Heat, Ghostbusters, and Spy demonstrated a sure-handed understanding that women are, you know, people too. Based on a novel by Darcey Bell (think Postman Always Rings Twice author James M. Cain writing for The CW), Feig gleefully pulls a Brian DePalma (minus the gory misogyny) in an unrelenting homage to some of suspense cinema’s greatest hits: Vertigo, Charade, Diabolique (actually name-checked by one of the characters), Gaslight, and, yes, Cain’s Double Indemnity, and probably a dozen more I’m forgetting. Blessedly, Feig embraces the black comedy of it all, and the film is less Paul Verhoeven’s Basic Instinct and more Mel Brooks-spoofs-Gone Girl.

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For her work in this film, Anna Kendrick now and forever will be my hero as her performance drives a stake into the heart of the insufferable DIY, cupcake-baking, Pinterest-stalking mommy vlogger (that’s vlogger with a “v” … as in “video blogger”). Her Stephanie Smothers is a hoot, one bad PTA meeting away from a nervous breakdown – a young widow whose  fixation on “home and hearth” may belie a darker (trashier) past.

 

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Into Stephanie’s life breezes fellow elementary school mom Emily Nelson, an icy Hitchcock blonde in divine Lauren Bacall-pantsuits. Blake Lively reminds viewers she’s more than “Ryan Reynolds’ wife” in a crackpot performance that is one part Carole Lombard, one part Veronica Lake, and one part Barbara Stanwyck … that is if those women were showboating, day-drinking, pansexual PR executives addicted to painkillers and stainless steel appliances. Oh, and she’s got secrets too … some doozies.

 

Emily and Stephanie meet cute in the rain, picking their sons up from school, and strike up the unlikeliest of friendships. The best parts of the movie are watching these two circle each other, realizing their respective “hustles” are as artificial as the day is long. Pretty soon, Emily disappears Gone Girl-style, and hunky husband Sean Townsend (Crazy Rich Asians‘ Henry Golding who is suddenly everywhere) is the chief culprit, which is compounded when he and Stephanie strike up a romance.

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I won’t spoil the twists and turns as they come fast and furious, but Feig and his stars have a ball indulging in and skewering the excesses of the genre. A fabulous supporting cast of pros like Jean Smart, Linda Cardellini, Rupert Friend, and Andrew Rannells all deliver zippy character turns. By the final twenty minutes, I will admit, I began to sour on the improbability of it all as the film veers into farcical War of the Roses territory. Nonetheless, for Lively’s gonzo performance alone, the film is essential viewing.

 

Across the aisle from A Simple Favor‘s flawless Dwell Magazine production design is the rough and tumble scruffiness of White Boy Rick, set in the nadir of Mayor Coleman Young’s mid-80s Detroit when the entire city looked like the back lot of a Mad Max movie and stopping to grab a Slurpee at 7-Eleven was a death-defying act.

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Based on the true story of Rick Wershe, Jr., the longest serving juvenile drug offender in the history of Michigan, White Boy Rick details Wershe’s descent into crime, his ascent as both FBI-informant and drug kingpin, and his eventual arrest and conviction. Along the way, Wershe (a haunting Richie Merritt) and his gun-smuggling papa (McConaughey in one of his best and most understated performances) meet a host of dodgy characters from the mean streets of the Motor City and in the mayoral Manoogian Mansion. (Legends Piper Laurie and Bruce Dern pop up as McConaughey’s parents – they are dynamite, and the biggest crime is that they don’t get more screen time.)

 

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Jennifer Jason Leigh is pretty much Jennifer Jason Leigh (which is fine) as an FBI agent using the boy to infiltrate the Detroit drug scene, and Brian Tyree Henry spins gold from his underwritten part as a Detroit cop in on the deal.

 

Director Yann Demange does an exceptional job capturing the sheer ugliness of this hardscrabble place and time without ever condescending to the moment nor its denizens. These characters are people who view the “land of opportunity” through a fun-house mirror where the only choices for financial stability are felonious. I will admit that I found the film’s point-of-view regarding its central figure problematically slippery. Are we to sympathize with him and his failings? Is he some kind of martyr figure? What does the film mean to imply about race in these circumstances? I’m at sea about the answers to these questions, and that leaves me just shy of fully supporting the film. White Boy Rick is well-done with a crackerjack cast, but I walk away with a bit of unease about what it is ultimately trying to say about race and class distinctions in America.

Matthew McConaughey (Finalized);Richie Merritt (Finalized)

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Regardless, both A Simple Favor and White Boy Rick (especially taken together) do an exceptional job holding a cinematic lens to the artifice of “success” in America: its false promise of fulfillment, its ephemeral nature, and its intrinsic heartache.

 

Why should the world be over-wise,

In counting all our tears and sighs?

Nay, let them only see us, while

       We wear the mask.

 

We smile, but, O great Christ, our cries

To thee from tortured souls arise.

We sing, but oh the clay is vile

Beneath our feet, and long the mile;

But let the world dream otherwise,

       We wear the mask!

– “We Wear the Mask,” Paul Laurence Dunbar

 

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“We don’t grow children like that here.” The Ringwald’s production of The Laramie Project – plus, quick notes on Crazy Rich Asians, Blaine Fowler’s America, and yours truly being interviewed on Freeman Means Business

Laramie Project review originally published by Encore Michigan here.

[Image Source: The Ringwald’s Facebook page]

The Ringwald Theatre’s 2018-19 season opener The Laramie Project is not a production that needs to be reviewed. It is a production that needs to be viewed. It is a production that essentially illustrates (beyond question) that the most impactful theatre requires very little: words, voice, people, movement. Storytelling in its truest form. As an audience member, I haven’t cried like I did opening night of Laramie Project in years (if ever).

 

At the end of act one, I was a puddle, with two acts to go, and, by the time the performance wrapped, I was red-eyed, gutted, mad-as-hell, and cautiously hopeful. It’s that good. I suppose some projection was involved on my part. I was roughly Matthew Shepard’s age when he was savagely brutalized and murdered. I grew up and attended college in Indiana, which, as Mike Pence’s political ascent will attest, is a state not unlike Wyoming – more Handmaid’s Tale than Moulin Rouge.

That notwithstanding, The Ringwald’s production of Laramie Project is a slow-burn powerhouse.

The play written by Moises Kaufman and members of the Tectonic Theater Project assembles first-person narratives from hundreds of interviews with Laramie townspeople, University of Wyoming faculty members, friends of Matthew’s, and the Tectonic Theater’s actors themselves. The narrative roughly follows this arc: defining Shepard’s humanity and upbringing, detailing the incidents of that tragic evening, and assessing its aftermath, all in the words of narrators both reliable and not. It is up to the audience to sort the wheat from the chaff and to make sense of a society where such irrational cruelty can occur. The approach is as journalistic as it is theatrical, and the topic is (sadly) as timely today as it was when the piece was written in 2000.

Director Brandy Joe Plambeck has assembled an empathetic, deep-feeling, yet commanding cast to perform dozens of roles: Joe Bailey, Greg Eldridge, Kelly Komlen, Sydney Lepora, Joel Mitchell, Taylor Morrow, Gretchen Schock, and Mike Suchyta. Rarely does this stellar group miss a beat, and Plambeck wisely eschews distractingly overt theatricality for a stripped down readers’ theatre approach. The emphasis is quite literally on the words on the page, and, as the details mount, both performers and audience are swept into a hurricane of emotion, of indignation, and of heartbreak.

As for those tears of mine? Well, Lepora and Bailey are the chief culprits, tasked to deliver some of the more devastating speeches and historical detail. They resist the temptation to indulge their characters’ raw emotions in a broad, selfish, “actorly” way. Rather, they quite realistically and subtly show their characters desperately trying (and failing) to stifle and contain their confusion, their anguish, their rage. And that damming of emotion, only to see the floodgates fail, is what cuts an audience to the quick.

Suchyta is quite effective as a series of “Wyoming” alpha men, from a star theatre student to a local bar owner to Shepard’s tormentors Aaron McKinney and Russell Henderson. Mitchell is a sparkplug, breathing bold strokes life into the play’s few comic moments as a surprisingly insightful cab driver, and Morrow does a fine job balancing characters both reprehensible (local “mean girls” who basically imply Shepard deserved his fate) and painfully noble (one of the very few out-and-proud lesbian faculty members at the University of Wyoming).

That said, I hate to single out any performances, because this is an ensemble show in the truest sense of the word, and everyone is excellent. Plambeck paces the show in a measured but never ponderous way. The costuming is minimal, stage directions and character names are read by Plambeck, and scene changes/location names are projected on the back wall of the space. This approach results in a production that places the emphasis squarely where it belongs – on the voices of the people who experienced this tragedy and on a nation that both evolved and devolved as a result. Don’t miss this production.

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[Image Source: Wikipedia]

“I’m so Chinese I’m an economics professor with lactose intolerance.” – Crazy Rich Asians

 

The other week we saw the film Crazy Rich Asians. Somehow life got in the way of me writing anything at length about the film, which is a shame because it is quite exceptional. Let me say this: while it was marketed as a wall-to-wall laugh riot a la Bridesmaids, it shares more with that film’s DNA than just riotous shenanigans.

Don’t get me wrong, Crazy Rich Asians has its fair share of zaniness, chiefly supplied by sparkling comedienne Awkwafina, but like Bridesmaids, that tomfoolery belies a gentler, sweeter, yet exceptionally subversive core. It’s been 20-some years since Hollywood produced a film starring an all-Asian cast (the far inferior Joy Luck Club), and the box office success of Crazy Rich Asians will hopefully inspire a bit of sea change where Asian representation in Tinseltown is concerned. Money matters (sadly).

Crazy Rich Asians is part fair tale fantasy, part light comedy, part soap opera, all heart. Luminous Constance Wu arrives a fully formed movie star as Rachel Wu, a whip-smart economics professor in New York whose life is turned upside down when she learns her longtime boyfriend Nick Young (a dashing Henry Golding) is in actuality Singapore real estate royalty. As Rachel runs the gauntlet of Henry’s wackadoo family members – including a sympathetically subtle turn by Michelle Yeoh as Henry’s fearful and controlling mother Eleanor – Wu reveals varied layers of heartache and resilience. It’s a thoughtful performance, understated and thereby likely to be unfairly overlooked come awards season, but nonetheless an exceptional depiction of female frustration and agency in this maddening modern era.

Catch this film while still in theaters or on home video shortly.

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[Yes, a window into my musical taste.]

Blaine Fowler’s AmericaMy friend Blaine Fowler is a brilliant, witty, and delightful radio DJ here in metro Detroit on WDVD 96.3 FM. His morning show is a top-rated listen in this market. He and his wife Colleen are also among the kindest people you’ll have the chance to meet with two lovely and successful children. But one of his greatest loves is music. I wrote a bit about his last iTunes album 49783 here.

 

His latest release America was just posted on iTunes and Amazon for download.The whole album is divine. More cohesive sonically and rawer lyrically than the prior one, with an almost “song cycle” effect and an evocative moodiness. I liked it very much. Highlights include “Love Is” (a trippy throwback to Prince at his Minneapolis peak), “Reach,” “Oval Beach,” and “Best Friend.” This is an impressive evolution, which is saying something as I very much enjoyed Blaine’s previous effort. Keep it up. And keep experimenting. My two cents.

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Freeman Means Business

This week, my friend and fellow legal marketer Susan Freeman interviewed me for her podcast. She writes, “Check out the latest great conversation about the life of a legal marketer from our ‘Peer Pod’ podcast featuring Roy Sexton, a real dynamo — and a reel dynamo too!” Click here or here.

“Be patient. Listen to those with experience in areas that are new or foreign to you. Don’t be afraid to be your authentic self. People WILL respond.” Thank you, Susan!

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Re-Post: Kerr Russell Director of Marketing Roy Sexton to discuss the firm, legal marketing, nonprofits on “Small Talk with Mark S. Lee” (WXYT 1270, CBS Sports Radio, Radio.com)

Shared from my employer Kerr Russell’s website.

Kerr Russell Director of Marketing Roy Sexton [that’s me!] will be a guest on this week’s “Small Talk with Mark S. Lee” broadcast, scheduled to air Sunday, 9/2/18, 8-9am, EDT, on WXYT 1270, and streamed via radio.com (search 1270/Detroit). You can also download the Radio.com app and here’s a link: https://app.radio.com/wvK9HktXjP.

If you missed the “Small Talk with Mark S. Lee” broadcast, you can listen at the link: Aretha, game theory, legal marketing, and the power of women! https://leegroupinnovation.com/small-talk-with-mark-s-lee-september-2nd-2018/

“On this Labor Day weekend and as you’re sitting back, enjoying the day and preparing for the upcoming week, just sit back, relax and enjoy the conversation with the following guests: Pamela Dover, Senior Director, Comcast Business & Shahida Mausi, Right Productions & Chene Park; Bryanne Leeming, Founder & CEO, Unruly Studios; Roy Sexton, Kerr Russell; Kim Boudreau Smith, Inc., Entrepreneur & Author.”

Listen here: https://leegroupinnovation.com/small-talk-with-mark-s-lee-september-2nd-2018/

[Sexton is photographed with WWJ NewsRadio’s Lloyd Jackson – upper left – and Mark S. Lee – upper right. Photos by Kim Bourdreau Smith – lower left, another guest on this week’s program.]

Mark S. Lee is President & CEO, The LEE Group, an independent integrated marketing consulting firm focused on providing marketing, branding and communication solutions to clients.

He is the former Vice President of Brand Development and Marketing Communications at Florida Blue, Florida’s Blue Cross Blue Shield plan, where he was responsible for leading the company’s brand initiatives, marketing communications and the development and implementation of promotional programs focused on supporting strategic priorities.

Prior, Mr. Lee held senior-marketing leadership roles with nationally known companies across the country including, PepsiCo, The Auto Club Group (AAA), et. al.

His column turned blog, “Small Talk with Mark S. Lee”, appeared in the Michigan Chronicle for three years and now appears via blog for Crain’s Detroit Business.  It provides tips to businesses who are interested in growing their business and to individuals who aspire to become entrepreneurs.

Roy Sexton is responsible for leading Kerr Russell’s marketing, business development, communications, and strategic planning efforts.

He has nearly 20 years of experience in marketing, communications, business development, and strategic planning, having worked at Deloitte Consulting, Oakwood Healthcare (now Beaumont), Trott Law (formerly Trott & Trott), and St. Joseph Mercy Health System. He has been heavily involved regionally and nationally in the Legal Marketing Association as a board member, content expert, and presenter. He is treasurer-elect currently for the Legal Marketing Association’s Midwest Regional Board of Directors. He was named a Michigan Lawyers WeeklyUnsung Legal Hero” in 2018.

Michigan Lawyers Weekly’s profile of Director of Marketing Roy Sexton – “Unsung Legal Heroes” (page 12)

He earned his Bachelor’s degree from Wabash College, and holds two masters degrees: an MA in theatre from The Ohio State University and an MBA from the University of Michigan. He is a graduate of Leadership Detroit and Leadership A2Y, was a governor-appointed member of the Michigan Council of Labor and Economic Growth, and was appointed to the Michigan Mortgage Lenders Association Board of Governors in 2012.

He served as an at-large member of LMA’s Midwest Regional Board, served on the advisory committee for Strategies Magazine, and was a member of the Social Media SIG steering group. He has been involved on the following nonprofit boards and committees: First Step, Michigan Quality Council, National MS Society, ASPCA, Wabash College Southeast Michigan Alumni Association, Penny Seats Theatre Company and the Spotlight Players. He currently sits on the boards of Ronald McDonald House Charities of Ann Arbor, Royal Starr Film Festival, Mosaic Youth Theatre of Detroit, and encoremichigan.com. He is a published author with two books Reel Roy Reviews, Volumes 1 & 2.

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“At the end of this, I will be exhausted. You probably will be too.” My whirlwind 48-hour career as a motivational speaker and Detroit FM radio DJ … #BeARoySexton?! What is that exactly?!

Photos courtesy Brenda Zawacki Meller, Milan Stevanovich (w/ Chanel Stevanovich), Ziggy Whitehouse, and my iPhone.

  • View video – courtesy Brenda Meller of Meller Marketing – here.

What do you do when you know you need to network and market yourself but the introvert within says, “Uh, maybe later”? On August 9, 2018, Kerr Russell Director of Marketing Roy Sexton (that’s me!) presented strategies for embracing your qualities as an introvert (or for those occasions when you aspire to introversion!) and establishing and maintaining a successful personal brand, both online and in person.

About the session, co-chair Brenda Zawacki Meller of Meller Marketing wrote, “Today my friend and marketing idol Roy Sexton of Kerr Russell presented ‘How to Win the Room When You’d Rather Stay Home’ to a PACKED ROOM at Inforum Michigan Troy. Video link below. Now that the meeting is over, I have to confess: I was freaking out a bit this week. We typically have 30 attendees at this monthly meetup and our registration was at 62 people earlier this week. We were getting pretty close on seating. It was almost going to be ‘standing room only’ at one point! But we brought in extra chairs. This is what happens when you book a ROCK STAR MARKETER for your speaker. I think both his marketing and the topic itself were both reasons for our outstanding turnout. Roy was an amazing presenter. I knew he would be great, but he was even better than I anticipated. Roy has a genuine, approachable, and relatable speaking style. He reminded us introverts that we’re OK to be an introvert. We don’t need to apologize for it, and we can be effective at networking, too. I learned that if you give introverts an assignment at a meeting (live tweeting, taking pics, helping at the registration table), it eases our anxiety. Need a keynote or conference presenter? Check out Roy Sexton. And tell him Brenda sent you. Then, check out the hashtag #BeARoySexton.”

Roy (me again!) has nearly 20 years of experience in marketing, communications, business development, and strategic planning. He earned his BA from Wabash College, his MA (theatre) from The Ohio State University, and his MBA from University of Michigan. He is a graduate of Leadership Detroit and Leadership A2Y. He sits on the boards of Ronald McDonald House Charities of Ann Arbor, Royal Starr Film Festival, Mosaic Youth Theatre of Detroit, EncoreMichigan.com, and Legal Marketing Association – LMA International. A published author with two books (ReelRoyReviews), Roy is an active performer, awarded 2017 Best Actor (Musical) by BroadwayWorld Detroit. He recently received recognition as one of Michigan Lawyers Weekly’s “Unsung Legal Heroes.”

And then THIS happened …

My mother Susie Sexton’s critique of my first (and probably last) radio gig as vacationing Rochelle Burk’s stand-in alongside Robby Bridges on their 96.3 WDVD drive-time show Friday, August 10. This is one of the funnier things I’ve read in a while: “stayed for nearly every second? geesh? you both were fabulous….nice repartee all the way around…I now am no longer a music lover as I was listening to stuff about the smell of sexy sheets and such just to hear your patter? one little bit I missed was when I needed to medicate issie with her pill and she was hiding? the word mousey was said and something about walking down a street? and sears called with a mix-up….they had changed delivery date to aug. 17 and then just called to robot me about tomorrow delivery again…that was sure effing fun. maybe straightened out now. damn 4 hours of choreography, engineering and listening to countless sex-crazed songs….but the patter was mighty fine…spell-check? no…I am exhausted.”

Postscript – she added when we chatted on the phone: “I liked that man (Robby) a lot. He has a kind, sweet quality that is inviting and not snarky, but also very funny. That is rare.” ❤️

And – bonus – Brian Cox, editor of Detroit Legal News, ran my “tech thoughts” article from the Legal Marketing Association’s Strategies Magazine. Whew! You can read the full text here.

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).

In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

 

Tech Thoughts From a Long-Time Marketer in a First-Year Role

As published by Legal Marketing Association’s Strategies here

 

Share, collaborate and give credit where credit is due.

 

This article aligns with the focus of the July/August issue of Strategies magazine: technology.

The other day I hosted a webinar. It didn’t go well.

We didn’t select one of the platforms typically used by our industry. “Let’s save costs,” we thought. “We can do this ourselves,” we thought. So, we used a subscription for a service we already had. We scheduled it. We did a “dry run” in our media room. Everything seemed to being working OK.

Day of webinar, with 60 people on the line, we launched our new quarterly web series. There was lots of energy. Lawyers were pumped. Rockin’ and rollin’. Twenty minutes later, a colleague popped her head in the conference room, gesticulated wildly toward her ears, and hissed, “We can’t hear you.” White hot panic ensued.

We started over. Still couldn’t be heard. Suddenly, we couldn’t see our slides either. Disconnected. Restarted. Suddenly all was right, but only for the 20 people who inexplicably remained on the line. Blessedly, my attorneys were game to re-record the whole thing offline, which we then posted on our website — and a new podcast was born.

I’m 20-plus years into this career. I think I know what I’m doing, but I often don’t know what I’m doing. It can happen to any of us. We want to please too many people; we’re told to keep costs low, don’t commit to any product long term, pilot something new — you can figure anything out, until you can’t.

 

When You Can’t Be All Things to Your Firm

 

This brings me to my most salient piece of advice for the small-firm marketer with finite resources (human, financial, technological): It may seem counterintuitive, but you must budget for consulting advice, and you must push back if your firm is unwilling to let you enlist the virtual aid of experts on areas where you may be deficient. It’s tempting to try to be all things to your firm, but you can’t. You will fail, and when you fail they fail.

It is crucial to my success to stay in contact with fellow legal marketers as well as service providers in our industry. You need to stay on top of the latest and greatest in technology solutions, measurement, outreach, etc., and, for me, maintaining my professional network is a great way to do so. I have some consultants I’ve known personally and professionally for years ― people I met at my very first LMA conference. Consequently, I trust their counsel.

Know what you don’t know, and be transparent about that. Part of your value to your respective organizations may be in giving them access to consultants and resources you have gathered over the years. For me, I lean heavily on CRM, web/digital and measurement experts, and, as appropriate, have them take on engagements with the firm.

First Time’s the Charm

 

When you are pushing your firm to make that big expenditure (for them), you need to articulate how important it is to do things correctly the first time. What are those old sayings? Don’t be penny-wise and pound-foolish. Measure twice, cut once. Don’t cut your nose off to spite your face. (Shudder. That last one is particularly grim.)

You must quantify your impact. Social media and digital give us a host of great leading metrics to use around awareness and engagement (e.g., reach, readability, downloads). We can also target industry groups now in very sophisticated ways. When working with attorneys, you need to show immediate impact ― whether by helping them connect with media and PR opportunities or through networking events, and then mapping out strategies for follow-up, codifying the business development steps and pipeline.

It’s not always evident that business development is a long game, so you have to help them see the short-term gains on the way to the larger outcome. If you have made a strategic bet on technology (e.g., marketing automation, competitive intelligence) to achieve those gains, celebrate each and every gain — no matter how small — and link it back to that investment.

That is how you will free up capital for your next play. And, if you can integrate with your accounting team via a CRM system (sometimes easier said than done), all the better. In an ideal environment, you should be tracking your marketing activities and then seeing what, if any, revenue impact they may be having and adjust as needed.

  • The digital revolution is changing the way we connect with the consumer and how we impact their decision-making processes dramatically. Duh. We can be increasingly targeted and can measure our impact in more granular ways. Be aware of how you are budgeting your dollars, and don’t be left behind because decision-makers in your firm may remain smitten with antiquated techniques that once worked for them. Both from a talent retention and a client acquisition perspective, you need to adapt and adapt quickly.
  • We are seeing an increasing diversification and consolidation of the traditional chief marketing officer role. Duh again. We are seeing chief experience officers, engagement execs, digital leaders, tech experts and operational leads spin out of and take over the marketing space. Keep your skills up-to-date and diversify, and don’t focus on tactics at the expense of strategy. At the end of the day, we are here to drive awareness and business. As a result, we can find ourselves at the table for interesting conversations. Avail yourself of the opportunities. Don’t be linear about your work nor provincial/territorial in your thinking.
  • Dollars will always be a challenge. Duh… big time. No one wants to spend money on marketing, but they want amazing results. You can’t really blame leaders for that. Marketing can be very expensive and frustratingly nebulous in its impact, so operate lean. Cut programs that aren’t working before others cut them on your behalf. Find ways to leverage digital to shrink your own budget and demonstrate that you can achieve significant outcomes for less. That may seem counterintuitive as marketers can sometimes spiral into empire building as a means to seem more significant or powerful within an organization. Show your value through outcomes, not turf or budget size.

 

 

Lean on Collective Intelligence

 

Digital, digital, digital. Acquiring technology to increase targeting. Boosting signal. Digital dissemination vehicles. Marketing automation.

There are so many great tools out there that your head will spin trying to understand them all. Don’t try. Find people who are doing that work ― sifting the wheat from the chaff. Tell them your needs, seek their counsel and follow their advice. Don’t be afraid to spend some money on people who are doing the research you may not have the bandwidth or expertise to accomplish yourself.

Some days I feel like I’m having a nervous breakdown. Others I feel like I’ve won the lottery. I love being a solo marketer. I love the work I do when I can introduce my attorneys to a new tool that will make their lives easier, help them reach a broader audience and find their voices. But I can’t do it alone. The best “tech” I can acquire is the collective intelligence of consultants and colleagues who have solved these problems before me, who know what works (and what doesn’t) and who can help me make the case for change. Share, collaborate and give credit where credit is due. That’s how you win the game.

Interested in learning more about marketing technology? Be sure to check out the July/August issue of LMA’s Strategies magazine.

Roy Sexton is the director of marketing for Kerr Russell. His background includes significant experience in both the legal and healthcare industries. He recently returned to a law firm environment, assuming the role of director of marketing at Kerr Russell after a stint as regional marketing director of a large health system. He is treasurer-elect for the 2018 LMA Midwest Regional Governing Board.

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

What are they thinking?! #WDVD 96.3 FM Detroit having me co-host Friday, August 10, 3-7 pm drive-time w/ #RobbyBridges

In the surreality that is my life, 96.3 WDVD’s Robby Bridges has asked me to be his guest-host for Friday’s show!! Rochelle Burk has made the wise decision to be somewhere far upstate at that time. So listen to my first and last shot at radio glory from 3-7:00 pm THIS Friday.

My mother Susie Sexton has suggested I try to model myself after Anderson Cooper. I fear I will be more like Carrot Top. … As my husband John Mola shakes his head and prays for daylight.

For those of you not in Southeast Michigan, you can tune in via online streaming here: http://www.963wdvd.com/on-air-robby-rochelle/

(I’m actually pretty geeked. Thanks, guys, for helping me win the nerd lottery. I love my WDVD family.)

Love the below text from my buddy Scott Rourke, who added, “It was the funniest thing; stopped me dead in my tracks; luckily, I was in a parking lot.”

And earlier tonight, I had fun with the Royal Starr Arts Institute Film Festival kids. I’d never had the escape room experience before. That was a blast – felt like Sherlock Holmes! Proud of the talent and heart of our volunteer directors for whom cinema is an absolute passion. Honored to support and celebrate their efforts as a board member. #escaperoom #presidentsbunker

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.