“Do you still need the cape?” Spider-Man: Far From Home

[Image Source: Wikipedia]

Spider-Man: Far From Home is a worthy follow-up to Spider-Man: Homecoming. The first act is cutesy, cloying, and underwritten, but the sparkling, believable kids in the cast (who actually seem like, you know, KIDS) keep things zipping along.

Tom Holland as Peter Parker/Spider-Man and Zendaya as his friend/crush/equal MJ are lighter than air, and Jake Gyllenhaal is great, popeyed, hunky fun as too-good-to-be-true Mysterio. Once the narrative takes a crafty u-turn at the midway mark, the film becomes a frisky, unpredictable, cinematic tilt-a-whirl.

[Image Source: Wikipedia]

The film follows directly onto the events of Avengers: Endgame (making it really hard to review without spoiling anything of the previous film still in theatres). Let’s just say, Peter is haunted by a great loss, tries futilely to fill his former mentor’s very large (iron) boots (and groovalicious aviator shades), and somehow still ends up saving the day, amidst a heaping helping of adorkable teen angst. Holland is arguably the most darling Spider-Man to ever grace the screen, and Zendaya more than holds her own. (Between these films and The Greatest Showman, I can’t wait to see where her career ends up. The sky’s the limit.)

[Image Source: Wikipedia]

The movie does explain how the kids in Peter’s high school were impacted when five whole years were lost (not to mention half of all life on the planet Earth) after that purple, hulking malevolence named Thanos jazz-snapped his Infinity Gauntlet’d fingers. Blessedly, the sturm und drang of the previous Avengers films is shed for sitcom-lite cheekiness about the absurdity of it all in Far From Home.

[Image Source: Wikipedia]

Just as the entire enterprise seems in peril of spinning off into a Saved By the Bell-esque goof as Peter and his buddies enjoy a pratfall-filled European senior trip, in saunters Gyllenhaal as the prototypical alpha hero, a gleaming surface that belies the cracked-pot interior of a toxic male raging against an invisible machine. Gyllenhaal is pretty underrated across the board, and it is due to performances like this: he makes it look easy to play a Ken doll gone very astray. It isn’t.

In some respects, Far From Home is both a by-the-numbers, assembly line Marvel blockbuster and a sly send-up of all the very movies that preceded it. Issues of identity and fame and pride and the very illusory nature of heroism in this modern Trumpian age of hyperbolic pettiness are rife throughout the film, including the two end credits scenes, both of which (for once) are actually worth sticking around to see.

One of Mysterio’s associates, his browbeaten dresser, harangues him repeatedly,”Do you still need the cape?” to which he responds every time with an exasperated “Yesssss!” The Incredibles, another Disney-corporate product, was the first to opine in a postmodern way about the idiocy of capes and the inherent strangulation danger of flying around with a piece of billowing cloth around one’s neck. The Incredibles‘ Edith Head-inspired superhero fashion designer Edna Mode declared, “NO. MORE. CAPES!” Yet, as Marvel Studios’ copious cinematic output over the past decade has proved as salve and welcome distraction during our stormy IRL times, sadly, yes, we all do still need the cape(s).

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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.

“You’re always sorry. And there’s always a speech. But we no longer care.” Dark Phoenix (and another thought or two on Hugh Jackman’s The Man. The Music. The Show. in Detroit)

[Image Source: Wikipedia]

Perhaps Dark Phoenix was a creative casualty of corporate wrangling via the finalized Disney/Fox combination that brought the previously Fox-licensed X-Men characters fully back into the Mouse House’s Marvel Cinematic Universe. Perhaps the X-Men movies should have called it a day (no pun intended) with the far superior Days of Future Past. (Don’t get me started on the candy coated cluster that was its follow-up Apocalypse.) Perhaps longtime writer/new-time director Simon Kinberg should have just stuck with the writing (though that isn’t very good either in Dark Phoenix and not up to par with his previous work). Or perhaps we all are just (finally) suffering from movie superhero fatigue.

All I know is that Dark Phoenix is a soapy bore, not unwatchable by any means, but not a hellvua lot of of fun either.

I began this week taking in erstwhile Wolverine Hugh Jackman’s sunny, zippy one-man The Man. The Music. The Show. at Detroit’s Little Caesars Arena, and I ended the week with this X-Men: Last Stand retread that made me long for Hugh to show up and sing a few more Peter Allen-penned show-tunes while swiveling his bedazzled 50-year-old-hips. Hugh was a wise man to finally walk away from this sputtering franchise and spend the summer doing what he does (and loves) best. Thank you, X-Men, for giving Hugh his start in this country … and, 20 years later, for setting him free.

Dark Phoenix attempts to right the wrongs of Last Stand, an over-baked muddle from 13 years ago that first told the tale of mutant Jean Grey’s descent into madness via a cosmic-based parasitic “Phoenix force.” I know to non-geeks it sounds absurd, but the original “Phoenix/Dark Phoenix” story-line by Chris Claremont and John Byrne from the late 70s is a beloved one, revolutionary in its day for its exploration of gender issues, agency/autonomy, and how absolute power can corrupt absolutely.

[Image Source: Wikipedia]

Don’t get me wrong. Dark Phoenix tries. Really, really hard. And that’s part of its problem. Too self-serious by half, yet slapdash in its execution, the film takes a solid cast – Michael Fassbender, James McAvoy, Nicholas Hoult, Jennifer Lawrence, Jessica Chastain, Evan Peters, Alexandra Shipp, and Sophie Turner (as the titular antihero) – portraying classic Marvel characters, all lovingly re-established in a fresh, postmodern way with X-Men: First Class, and squanders the whole shebang with heaps of illogical character motivation and turgid dialogue. As Fassbender’s Magneto cautions his bromantic rival James McAvoy’s Charles Xavier: “You’re always sorry. And there’s always a speech. But we no longer care.” True dat.

It’s a shame. It truly is. The series could have gone out on a high-note, pulling all the topsy turvy threads of time travel, lost souls, and marginalized identity into one super nova of an ending … if they’d just have followed the blueprint of the original damn comics. Seriously, look at how many Oscar winners/nominees are in the cast; yet, at times, I thought I was watching Guiding Light: The Mutant Years.

[Image Source: Wikipedia]

C’est la vie. The plot, as it is, details how young Jean Grey was orphaned (or was she?) by telepathic powers run amok. Charles Xavier rescues her (or does he?) and raises her as his own, always wary of the limitless powers at her disposal. One epic space shuttle tragedy later, a now-adult Jean Grey finds herself imbued with the nuclear power of a thousand solar systems, but she really just wants to mope around, glare a bit, and throw her enemies into the sides of buildings. Chastain as some alien despot with the albino aesthetic of Edgar Winter seeks Jean’s newfound power for herself. And, blah, blah, blah … more moping, more glaring, more throwing.

Jennifer Lawrence’s Mystique notes to Xavier, “By the way … we women are always saving the men around here. You might want to change the name of this group to X-WOMEN.” Now, THAT’s a movie I think I would have preferred to see. And, as poorly written as that line is, it says something about Lawrence’s uncanny abilities that it lands like the best zinger you’ve ever heard from a Noel Coward comedy. Otherwise, Lawrence is clearly just collecting a paycheck here, waiting for her contract obligations to final run out.

Photos taken by my parents Monday night in Detroit

Back to Hugh. If Dark Phoenix truly is the death knell of the X-Men movie universe, perhaps the rest of the cast should follow suit and launch their own respective concert tours. As noted here earlier, his show is an absolute delight … and also a bit surreal, given that it is the culmination of Jackman’s wildly varied career, plus a melange of influences and experiences close to his heart. It is, in essence, a two-hour midlife crisis, Vegas-style, but a kicky, charming, loving, unmissable one. [Photo album here.]

What I also learned this week is that there are two kinds of people: those who know that Hugh Jackman sings … and those that don’t. As to the former, all I had to do was mention I saw him in concert, and they rattled forth rapturous perspectives on which songster Hugh they loved the most: Les Miserables, Greatest Showman, Oklahoma, The Boy from Oz … all of which were featured in Monday night’s show. As to the latter, I was met with a quizzical gaze and a “what did he do for two hours?!”

Ah, what didn’t he do? Tap dancing to AC/DC’s “Thunderstruck”? Check. Channeling his best Gene Kelly for a Singin’ in the Rain homage? Check. Working through what felt like some Freudian confessionals about family, romance, and fatherhood? Check. Offering a salute to the atrocities experienced by the aboriginal peoples of his Australian homeland, complete with didgeridoo? Check.

There were some missteps Monday night. A blown mic … or three. Some faulty projection screens. Heartfelt but at times overly fawning tributes to Detroit (we ate it up … but at times it got a bit thick). A strangely sequenced second act that seemed to jettison the chronological overview of the first act for a random grab-bag of themes and ideas. I also admit that I wouldn’t have minded a bit more attention paid to his Tony-winning role in The Boy From Oz. The medley of Allen’s more obvious (for American ears) pop tunes was understandable as was the Rip Taylor-style vamping in the audience; yet, I longed for more of Peter Allen, the brilliant singer/songwriter and a bit less of the theme park character flash on display. That said, these are all minor quibbles in an otherwise extraordinary evening.

My hunch is that our singing, dancing, jazz-hand flinging former-“Wolverine” will be riding this arena-gig until the wheels fall off. The Hugh Jackman on display Monday night was simply too exquisitely blissed out not to, and, as a result, I’m sure he will be playing every arena, concert venue, and state fairgrounds into which he can get his twinkly visage booked. Given what I just experienced this afternoon watching Dark Phoenix, that’s one damn smart career move!

[Image Source: Wikipedia]

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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.

#HughJackman in #Detroit at Little Caesars Arena: The Man. The Music. The Show.

Hugh Jackman is nothing but pure joy. That is all.‬ A more extensive review is likely forthcoming when (and if) I ever recover from being utterly awestruck… in the meantime, enjoy these clips and photos.

In sum, know this about The Man. The Music. The Show.: Hugh is living his best inner 8-year-old’s Golden Age-musical-loving life onstage in arenas this summer. And we are all the better for it. His thesis seems to be “reconciliation through culture,” and a more kindhearted and inclusive affair (a loving throwback to sunny variety shows of our youth) you’d be hard pressed to find. Lord knows we all need some vintage TLC these days.

Part autobiography, part greatest hits, part retrospective, part therapy session, this show is all heart. Don’t miss it.

Full photo album here. Tonight’s set list here.

#hughjackman #littlecaesars #detroit

“If you don’t have anything, you have to act like you own everything.” Disney’s Aladdin (2019)

  • [Image Source: Wikipedia]

    “If you don’t have anything, you have to act like you own everything.” – Aladdin
  • “Steal an apple and you’re a thief. Steal a kingdom and you’re a statesman.” – Jafar
  • “We should only be as happy as our least happy subject.” – Princess Jasmine

(Taken together, all might as well be explaining the current state of world politics.)

I found Disney’s live action reimagining of Aladdin pretty delightful and a welcome, inclusive, and, dare I say, much-needed feminist update of the original. (Note: I liked this spring’s equally critically reviled Dumbo a LOT too, so fair warning.)

[Image Source: Wikipedia]

Yes, we all adored Robin Williams, but we forget that he is (arguably) the essential (sole?) reason the original animated film is held in such esteem. I think director Guy Ritchie (Sherlock Holmes) rebalances the proceedings with a well-rounded and integrated effort in his live action remake. Does it occasionally suffer from some TV movie flatness (a la Disney’s own Once Upon a Time or The Descendants)? Maybe. Do the musical numbers look a bit like they were lifted from a 1980s cruise ship commercial? Probably. But on the whole, I thought it was a lot of fun. And don’t get me wrong. I was nuts about the original and saw it about five times in the cinema during my sophomore year of … college. So, yes, I’m a soft touch for this material, and also one who has a well-earned fondness for the original.

Disney’s storied 90s animated output was, on balance, comprised of big Broadway-esque musicals that made it ok for a sh*t-ton of Gen Xers and Millennials to like show tunes, fairy tales, AND cartoons again. The flicks earned oodles of money in process. Nowadays, since just about any movie can be viewed (legally or illegally) on an iPad via YouTube, the idea of Disney “re-releasing” the “classics” from the “vault” via DVD/VHS/carrier pigeon is a quaint memory. Consequently, the Mouse House has to find a new way to monetize their intellectual property for the children of the children of the children of all their original audiences. Hence, remade enterprises like the recent live action Dumbo, the upcoming Lion King, and this Aladdin.

Folks, it’s Disney. If they can wring a nickel out of a t-shirt or doll or knapsack featuring some obscure character from, say, The Aristocats, they sure as hell are going to get another billion dollars from one of their most popular animated flicks of all time: Aladdin.

[Image Source: Wikipedia]

The nice thing here is that Aladdin is actually pretty good, a pleasant early summer diversion, that leans into Will Smith’s estimable charms while putting a governor on his out-sized ego and that offers us a forward-thinking story line about people of color living as, you know, people and acquitting themselves with agency and wit and heart.

[Image Source: Wikipedia]

Even villainous Jafar gets a makeover here. Describing the original animated version of Jafar as ethnic caricature would be … kind. In the hands of Marwan Kenzari, Jafar is still pretty despicable, but with a motivation that is more political than icky-for-icky’s sake and who isn’t as creepily fixated on marrying the unwilling Jasmine. The downside is live-action Jafar is, well, a little bland, not-to-mention kinda pretty, so his menace ends up more subtle than overt. That said, it’s a stronger performance than I think many will initially recognize. (His sidekick parrot Iago is toned down too – nary a squawking voice of Gilbert Godfried in earshot.)

[Image Source: Wikipedia]

Our leads Mena Massoud and Naomi Scott as Aladdin and Jasmine respectively are, yes, Disney dreamy, but they also have grit and spark underlying all that glamor. Scott particularly approaches each scene with an unselfconscious irony and fiery whimsy that gives us a very un-princessy princess (blessed be). By the way, in this update, Jasmine is less interested in romance than in being named (rightfully) sultan. Yasss, queen!

[Image Source: Wikipedia]

Saturday Night Live‘s Nasim Pedrad is great fun as Jasmine’s confidante and handmaiden, the newly created character Dalia, who suffers no fools gladly either. When Scott steps forth to deliver the score’s one new song, the anthemic “Speechless” (crafted by original composer Alan Menken with an assist from The Greatest Showman‘s/La La Land‘s Benj Pasek and Justin Paul), a star is born, and the Disney princess merchandising machine gets a much-needed shot of #ImWithHer feminism:

I won’t be silenced
You can’t keep me quiet
Won’t tremble when you try it
All I know is I won’t go speechless

‘Cause I’ll breathe when they try to suffocate me
Don’t you underestimate me
‘Cause I know that I won’t go speechless

[Image Source: Wikipedia]

In the end, though, Aladdin is still a rollicking fairy tale adventure, and Ritchie paces it as such. Musical numbers? Nah, not his forte, but he makes them work in an insular, oversaturated, Bollywood-lite sort-of-way. The marketplace shenanigans and palace intrigues, however, are all rock solid. Will Smith? Not a singer. But he can move and he lights up a screen like no other. (Robin Williams wasn’t exactly Pavarotti.) In Smith’s hands, the jazzy cut-up “Friend Like Me” gets a Fresh Prince hip-hop makeover, and it works far better than my description makes it sound. No one in the production is taking this material too damn seriously. Shakespeare, it ain’t. And that’s just fine.

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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.

“The measure of a person, of a hero is how well they succeed at being who they are.” Avengers: Endgame

  • [Image Source: Wikipedia]

    “The measure of a person, of a hero is how well they succeed at being who they are.” – Queen Frigga (Rene Russo) to son Thor (Chris Hemsworth)
  • “No amount of money every bought a second of time.” – Tony Stark (Robert Downey, Jr.) to father Howard Stark (John Slattery)
  • “You look like melted ice cream.” – Rocket Raccoon (Bradley Cooper) to Thor (Hemsworth again) who has discovered a physique-obliterating love of beer, junk food, video games, and sweatpants

Marvel’s Avengers movies are, yes, about superheroes and, by extension, merchandise, theme park attractions, and an infinitely extendable money-minting film franchise. But they are about something else … and always have been: family. Finding one’s family in the most unlikeliest of places and forging new bonds (Avengers, Guardians of the Galaxy, Thor), rediscovering and healing one’s fragmentation with the past (Black Panther, Iron Man, Captain America), or redefining one’s destiny and defying the limitations others’ have unfairly or unintentionally imposed (Doctor Strange, Spider-Man, Ant-Man) are all themes that have defined this groundbreaking film series.

[Image Source: Wikipedia]

I would suggest that is why last year’s Infinity War with its (one-year-later spoiler alert!) decimation of nearly half the beloved team struck such a chord (and blow) with the general movie-going public. We comic nerds (and anyone who paid half a millisecond of attention to box office returns or awards season nominations) realized there was no earthly way a character like Black Panther (Chadwick Boseman) was going to remain “dead.” Nonetheless, we were gutted to see newly arrived fan favorites like Dr. Strange (Benedict Cumberbatch) or Spider-Man (Tom Holland) erode as pillars of collapsing ash, Sodom and Gomorrah-style, after “Mad Titan” Thanos (beautifully glowering Josh Brolin) snapped his fingers (literally), worked his “Infinity Gauntlet” mojo, and made 50% of all living creatures disappear from the universe. You see, Thanos has an unusual solution for chaos theory and overpopulation: get rid of half of us, re-instituting balance in a world run amuck. I suppose there are worse ideas.

[Image Source: Wikipedia]

Last year, we viewers were left with the mother of all cliffhangers, and, while Marvel Studios’ unyielding production schedule pretty much spoiled the surprise that the surviving Avengers would find a means to bring their missing brethren back, we didn’t know how and, perhaps more importantly, we didn’t know what this dissolution would do to the Marvel family.

[Image Source: Wikipedia]

I won’t reveal the plot of this year’s $1.2 billion (and counting) juggernaut Endgame. To be honest, even if I wanted to detail the 3-hour narrative here, I’m not sure I could unravel the plateful of spaghetti that relies as much on the 21 (!) movies that precede it as it does some rudimentary knowledge of quantum mechanics, bad time travel flicks, and somberly-crafted peanut butter sandwiches.

[Image Source: Wikipedia]

And, in the end, it doesn’t much matter. The movie is a marvel (pun intended) because directors the Russo Brothers (no relation to Rene … that I’m aware) are smart enough to pepper the proceedings with brilliant action sequences yet ground the entirety in humanity, heart, and deft character development.

The running time of Endgame never feels gratuitous (other entries in the Marvel franchise have felt overlong and indulgent occasionally). This much airtime is in fact essential to re-engage with our core heroes: Iron Man (Downey, Jr. who started it all with his character’s eponymous debut), Captain America (Chris Evans, long the heart and soul of the series), Thor (Hemsworth who has evolved from pretty dull to pretty comic dynamite), Hulk (Mark Ruffalo, by far the best actor in the bunch who always makes every other performer just that much better in their scenes with him), Black Widow (Scarlett Johansson, who, like Hemsworth, found much surer footing as the series proceeded), and Hawkeye (Jeremy Renner, more often than not a cipher who truly comes into his own in this latest installment).

No one is given short-shrift here, with emotionally weighty, at times devastatingly heartfelt, denouement(s) that honor all that has come before and set the entire franchise on an exciting and uncharted path. It’s not all doom and gloom as there is plenty of self-referential/self-deprecating wit, with Captain America himself setting off some of the best zingers in the bunch. The whole enterprise is sweet-natured, entertaining-as-heck, genuinely humorous, and damn moving. Trust me, you will be sniffling throughout the last 20 minutes and downright sobbing at the very final scene.

[Image Source: Wikipedia]

Possibly for the first time ever, it feels like we can expect nothing but the unexpected from Marvel films going forward. It’s a genius move. For over a decade, Marvel Studios president and executive producer Kevin Feige has teased us with his “phased” master plan, all leading up to these final films. All of Hollywood became covetous of Marvel’s “shared cinematic universe” (less artistic envy, I suspect, than material greed … but c’est la vie). (See: DC Extended Universe, Universal’s Monsters Universe … no, better yet, don’t.) We are at Endgame, and, effectively, Feige and Marvel have thrown the baby out with the bathwater, sun-setting beloved canon while simultaneously thumbing their nose at it. The sky’s the limit, so empty your wallets, moviegoers: who knows what’s next?

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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’d rather be divisive than indecisive.” #Hamilton National Tour in Detroit

I’m ornery. Sometimes. Ask my family.

When the entire universe seems to loooooooove some performer or movie or show or play. And I mean in that show-offy, fawning, “you MUST see … you mean you HAVEN’T seen?!,” clutch the pearls kind of way? I make up my mind that I’m 110% certain I WON’T like it. And I won’t try it. Nope. Not never.

It’s a pretty stupid and annoying personality trait for me to have, TBH.

Thank heavens we have friends like Rob Zannini and Aaron Latham to kick me in the pants (and buy tickets) when I’m being a stubborn idiot.

This brings us to Hamilton, the national tour of which ended its month-long residency in Detroit yesterday (Easter Sunday) at the Fisher Theatre.

You certainly don’t need my validation to tell you the show is well worth the hype. Just ask the American Theatre Wing. Or the Grammy organization. Or the Pulitzer committee. Or that bragging neighbor/coworker/friend who saw it in New York four years ago (and has seen it six more times already).

Sigh. They are ALL spot on.

The show is a brilliant, clever, pointed, sassy, dare I say, frothy overview of the life of spiky, complex, groundbreaking Founding Father Alexander Hamilton (!). And nary a dancing cat or crashing chandelier in sight. “I’d rather be divisive than indecisive,” Hamilton observes at one point. Amen, brother. And, damn, do we need some of that informed moxie in our politicians now (more than ever).

Based on the 2004 biography that turned our collective view of America’s birth on its head, Hamilton gives us a warts-and-all review of the “young, scrappy, and hungry” Hamilton and colleagues like Washington, Jefferson, Madison, Burr. Classic musical 1776 also has great fun with the challenges (and infighting) at the beginning of our nation’s great democratic experiment. But Hamilton is less decorous and revels in the raw and ugly street fighting at play. And makes it all seem fun.

Imagine the Revolutionary War staged by West Side Story-era Jerome Robbins, but with the technical wizardry (and turntable) of Cameron Mackintosh’s Les Miserables and a musical score by Stephen Sondheim, Eminem, Kander & Ebb, the Brill Building songwriters, Beyoncé and Jay-Z. Oh, why not throw in a touch of Andrew Lloyd Webber’s and Tim Rice’s Jesus Christ Superstar for good measure. Creator/wunderkind Lin Manuel Miranda wears his influences proudly on his sleeve, openly referencing Broadway’s vibrant history lyrically, musically, visually.

It doesn’t get much more American than that.

Add in color-blind casting and a steampunk approach to costuming and set design, not to mention evocative, lithe choreography (nary a gymnastic tumble to be seen … thank God), and you have a three hour spectacle that never bores for a second and zips by in a flash.

(I would recommend scanning the show’s Wikipedia entry before viewing, if, like me, your memory of American history from your high school coursework is far away in the rear view mirror.)

The first act takes us through the Battle of Yorktown; the second addresses the much messier work of building a new nation, and the spiraling life of a man (Hamilton) who gave far too much to his work and far too little to those who loved him.

Our cast (below) included understudies Tre Frazier and Wonza Johnson in the pivotal Jesus/Judas roles of Alexander Hamilton and Aaron Burr respectively. They were phenomenal, bringing nuance, empathy, heart, and fire to their depictions.

Other standouts were the commanding and wry Paul Oakley Stovall as George Washington (we had the pleasure to meet this gracious actor and his lovely family after the show – learn more about him here); luminous Stephanie Umoh as Angelica Schuyler; impish and adorable Bryson Bruce as Marquis de Lafayette and Thomas Jefferson; riotous and effete Peter Matthew Smith as the Elton John-esque King George; and heartbreaking Hannah Cruz as Hamilton’s long-suffering yet stoic wife Eliza. Cruz brings down the house with her turn in the second act, wronged repeatedly by Hamilton’s high-minded, myopic ways. If you aren’t a puddle when she “removes herself from his narrative,” you ain’t human.

Hamilton repeatedly asks the audience to consider “who tells YOUR story?” All I can say is that if someone decides to do a show about my life (cue laughter now), I sure as hell hope Lin Manuel Miranda is still around to write it.

P.S. We ended our day with an astounding dinner at Lady of the House, a Beard Award-nominated restaurant in Detroit’s historic Corktown district. OMG. I’m no “foodie” (reference the sentiments of my opening paragraph above), but this place (veg friendly BTW) is to die for. Our server eventually became accustomed to (possibly amused by?) my plebeian ways. She wanted to “sequence” our “courses” of innumerable shared plates. I wanted a grilled cheese.

Perhaps inspired by the political wrangling in Hamilton, we found our common ground (though I never got that grilled cheese). Nonetheless everything we consumed was out of this world, with locally sourced flavor combinations to knock your socks off. Run don’t walk to this fab, shabby chic establishment. And be prepared to pay a pretty penny. It ain’t cheap, but like the pricey Hamilton, well worth the outlay.

Thank you, Rob and Aaron and our pal Rachel Green for an incredible, enriching Easter in Detroit!

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.

“One thing.” Heard and Inspired: A Legal Marketing Recap from #LMA19 in Atlanta

Originally published by JD Supra

…this year, I perceived a seismic shift in Atlanta.

If there is one thing you can count on following the Legal Marketing Association’s annual conference, it is a sparkling flood of think pieces, inspired by a collective gathering of the best and brightest our industry has to offer.

Sometimes, I fear my own conference reminiscences bear the uncanny resemblance to “what I learned on my summer vacation” essays written in grade school days. So be it, as these annual sojourns are among the most energizing three days legal marketers spend each year. A “listen to me, please” summer camp for sharp, creative souls who may spend the other 362 days a year talking lawyers out of sponsoring church basement banquets and holiday baked good distributions.

But this year, I perceived a seismic shift in Atlanta.

I felt like we’d been heard. Solidly. This year, post-conference, I no longer had the urge to complain about being dubbed a “non-attorney.” Nor did I want to tap dance urgently to justify the need for social media in legal.

Perhaps, it’s been this way all along, but this year it seemed like we finally arrived. This year, our capstone session / general counsel panel – rife as always with old saws of “give me value, not trinkets” and “don’t take me to a football game, make my job easier” – added something new: “I don’t just want to talk to your attorneys. I want to talk to YOU. You, legal marketers, with your data, and your insight. YOU … you get my business. Now, can I go home to my kids, please?”

Others have captured the details of the panel, far better than I (here and here). I walked away with sense memory. And a feeling of professional pride, one which, yes, LMA has always engendered, but which arrived this time with no apology nor rationalization.

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Yes, true culture change remains mired in what sometimes feels like “death by a thousand cuts” miasma. That’s corporate life. Yet, we left LMA this year with as recognizable a mandate as I’ve heard. As one GC intoned, gesturing to the assembled marketing pros, “I predict this room will double in size in five years.”

That said, here is my obligatory “book report” on what I learned – and what inspired me – at #LMA19:

– We are in an industry in need of radical transformation.

The large consulting firms and other alternative legal service providers will avail themselves of any client frustrations over pricing, transparency, access, and responsiveness to shift clients away from traditional legal services to integrated consultancies. We must pitch as a team with predictable pricing models and measurable outcomes.

 GCs are not interested in being entertained. 

They want value add, user-friendly analysis and advice. They get plenty of client alerts. They want insight and anticipation and, chiefly, an understanding of their business priorities. The data is available and apparent. The law firm that will win their business doesn’t invest in tickets or gifts or parties but in actionable intelligence that helps them achieve their business objectives. Do not speak in “if/then” statements.

– The conversation is increasingly occurring online. 

Create a digital footprint that is accessible and speaks in the language of the purchaser, not the purchased. Attorney profiles should show expertise and humanity. Furthermore, those purchasing legal services are looking for diversity and representation. They want to see themselves in their legal providers.

 Law school grads are increasingly going in-house for work-life balance. 

Money is not their sole draw. With that in mind, these individuals will be making more of the hiring decisions. On average, it costs a company $174/hour for in-house legal counsel. They are also continuing to develop AI solutions. GC is tasked as much with controlling costs as ensuring positive outcomes for their organizations. Transparency of pricing and differentiation of value for increased outsourced cost is essential in order to land business.

So, there you are. My annual tithing to the gods of legal marketing in gratitude for three days that fill my intellectual and emotional coffers for the rest of the year. We legal marketers work hard, play hard, care hard. This year’s GC panel felt like a long-overdue external recognition of that.

It’s nice to have someone else write your “book report” for once.

P.S. I’ve got the best mom. Susie Sexton. Don’t be jealous. Hoppy #Easter!

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.

“If a superhero can’t save his family, he’s not much of a hero after all.” Shazam! (2019)

[Image Source: Wikipedia]

The entirety of the superhero film genre deals with issues of identity and family and belonging. The best entries – Superman, Dick Tracy, Iron Man, The Dark Knight, Captain America: The Winter Soldier, Guardians of the Galaxy, Spider-Man: Homecoming, Wonder Woman, Thor: Ragnarok, Black Panther, Spider-Man: Into the Spider-Versetransport us to escapist realms while metaphorically helping reconcile the harsh reality of our daily lives vs. our wish fulfillment fantasy to champion all underdogs and right all wrongs. This disconnect between the inner child who still feels all things are possible and the jaded adult who fears the best of life has passed one by keeps us spinning the wheel at the superhero box office in the hopes of finding our ultimate champion on the silver screen.

And Shazam! comes pretty damn close.

[Image Source: Wikipedia]

Based on the classic Fawcett Comics character Captain Marvel, Shazam was  acquired by DC Comics in a copyright dispute in the 1950s over the character’s (overstated) similarities to Superman. DC, ironically in turn, lost the rights to use the name (but not the character) “Captain Marvel” to Marvel Comics in the 1970s, and Marvel’s version of “Captain Marvel” had her cinematic debut one month ago. Consequently, DC’s “Captain Marvel” now goes by “Shazam,” which in actuality is the magic word young Billy Batson exclaims to become “The Big Red Cheese” Captain Marvel (but we can’t actually call him “Captain Marvel” any more). Clear as mud? Thanks a lot, intellectual property laws. (It’s all explained much better and in much more detail here.)

None of this matters one whit to your ultimate enjoyment of David F. Sandberg’s film treatment of Shazam (which was also a corny Saturday morning Filmation live action series in the 1970s and a Republic serial in the 1940s). For the casual film-goer, the more relevant comparison is to Tom Hanks’ classic comedy Big as a wish fulfillment fantasy of a little boy lost who assumes adulthood (and superpowers) will solve all his real-life problems (spoiler alert: they don’t). Shazam even offers an onscreen nod to Big’s FAO Schwartz super-sized floor piano keyboard duet.

[Image Source: Wikipedia]

Asher Angel (think young Zac Efron, but a bit less precious) plays foster kid Billy Batson, ever on the hunt for the birth mother he lost years ago at a winter carnival and who mysteriously never reclaimed her son. Batson bounces from group home to group home until he lands at the beautifully blended foster home of Rosa and Victor Vasquez (warm and earthy Marta Milans and Cooper Andrews). Overeager and lonely foster brother Freddy Freeman (It‘s Jack Dylan Grazer in a dynamite and heartbreaking turn) introduces Billy to the nerdy joys of super hero trivia, and, before we know it, flash-bam-boom!, Billy finds himself one subway stop away from the magical “Rock of Eternity,” imbued with magical abilities by an ancient wizard (an almost unrecognizable Djimon Hounsou).

[Image Source: Wikipedia]

When Billy shouts “Shazam!” (acronym of Solomon, Hercules, Atlas, Zeus, Achilles, and Mercury and the respective abilities of each), the young boy transforms into 6’3″ Zachary Levi (Chuck, Tangled, She Loves Me) whose sitcom/musical comedy ethos paired with a physique that now seems to have muscles-on-top-of-muscles makes him the perfect choice for this whimsical hero.

The film is saddled, as are most comic book adaptations alas, with a “take over the world” megalomaniac antagonist. This time, Mark Strong plays Dr. Sivana, and, in his typical glowering skinny/tall-British-Stanley-Tucci-with-dodgy-dental-work-way, Strong meanders about the film, saying vaguely apocalyptic things and shooting energy bolts from his hands. He’s completely unnecessary.

[Image Source: Wikipedia]

Thematically, Strong’s primary contribution seems to be to further the film’s exploration of family lost and family gained. Sivana’s father is a Lex Luthor-esque SOB, played by the go-to actor for Lex-Luthor-esque SOBs John Glover (Gremlins 2, Smallville … where, in fact, he played Lex Luthor’s dad) whose brutal parenting style predictably turns his little lad into a grade-A psychopath.

[Image Source: Wikipedia]

Shazam! works best when the film turns its gaze toward the adorable band of misfits in Billy’s foster home. The child actors are loving, lovable, believable, and kind. The challenges Billy endures embracing his new home and relinquishing his dream of reuniting with his birth mother are poignant and accessible and juxtapose nicely with the comic farce of him learning to be a proper super hero. Levi is an utter delight playing a 14-year-old boy in an (overgrown) man’s body, attempting superheroics when all he really wants to do is gobble junk food and play video games. At one point, Batson in his superhero persona observes, “If a superhero can’t save his family, he’s not much of a hero after all.” Amen to that. Amen to that.

 

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Thanks to my boss Susan and coworker Megan for this! #wishfulfillment

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.

[Image Source: Wikipedia]

Rock-n-roll all nite … and PART of every day. KISS’ “End of the Road” tour at Detroit’s Little Caesars Arena

When you have a dear friend who is absolutely gaga for a musical group, you go to a concert with him. Part of the joy is watching him share something that means so much. Now, I admit I am not your typical KISS concert-goer. Furthermore, I should note that as a child wandering through record stores with my audiophile parents I found myself rather terrified of those four nerdy New York City boys with a fetish for Kabuki make up and superhero tropes. I am pretty certain I can blame their album covers for my lifelong fear of clowns.

Yet, here I was at Detroit‘s spectacular, state-of-the-art Little Caesars Arena, singing along at the top of my lungs beside my friend Blaine to such ubiquitous pop rock hits as “Beth,” “Rock-n-Roll All Nite (Party Every Day)” – not “part OF every day” as I used to believe – “Detroit Rock City,” “Heaven’s On Fire,” and “I Was Made for Lovin’ You.” In fact, that last number – so swanky, so disco, a little bit Blondie, a whole lot Donna Summer – was the highlight of the set for me. However, I detected from all of the seated KISS fans that this particular ditty was not exactly one of their top tier requests. Paul Stanley had to exclaim, “This is one of our biggest international hits!” Emphasis on international.

What I never realized about a KISS show is how sweet-natured the whole enterprise is. All I ever knew were images of Gene Simmons’ reptilian tongue and bat wings and platform boots. But the crowd was about as gracious and polite as could be, many of them dressed up in makeshift versions of their favorite band members’ costumes. It was like hair metal comic-con.

I also never realized, or perhaps this is a late in life development, that front man Paul Stanley is some strange cross between Bette Davis, Bugs Bunny, and Dr. Frank-n-Furter. And Gene Simmons is his Joan Crawford/Elmer Fudd/Id. They are both oddly hypnotic … and utterly adorable. I guess it makes a kind of sense as Gene is pals with Cher and Liza Minnelli, even managing Liza’s career toward an epically camp collaboration with the Pet Shop Boys in the late 80s. Don’t drop bombs, indeed.

 

And just when you think the entire show is veering off into some unhinged Transylvanian borscht-belt-vaudeville-on-crack self-indulgence, these boys bring an awe-inspiring martial musicality. Drummer Eric Singer and guitarist Tommy Thayer are insanely talented musicians – Buddy Rich and Jimi Hendrix in grease paint. To be honest, I was floored … and Blaine was validated.

It’s clear that it troubles the band that what they have gained in worldwide success has never been offset with total credibility or artistic respect. They even mentioned their appreciation for Detroit fans who have stood by them through thick and thin, even as it took them multiple attempts to make it into the Rock-n-Roll Hall of Fame. Jealousy is jealousy, and it hurts no matter your level of notoriety or achievement.

I haven’t even touched on the spectacle of it all. The staging was electric, with no end of pyrotechnics, floating platforms, fog machines, video displays, and gauche Vegas glitz. KISS leaves it all on the field. After 45 years of complete commitment to their adoring audience, the impending retirement implied by this self-proclaimed “Final Tour Ever” seems well-deserved.

Well, Blaine, you’ve got a new recruit for the #KissArmy. Incredible show! Photos here … assorted video clips follow.

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.

Legal Marketing Association: Tech Recipes From “You Don’t Just Buy Tech, You Live It”

Co-written by yours truly and two legal marketing colleagues – original post here:

“Technology can be our best friend, and technology can also be the biggest party pooper of our lives. It interrupts our own story, interrupts our ability to have a thought or a daydream, to imagine something wonderful, because we’re too busy bridging the walk from the cafeteria back to the office on the cell phone.” – Steven Spielberg

Last month we spoke at the inaugural LMA Mid-Atlantic Conference about not just buying technology, but living with it. We discussed our real-world challenges and successes with technology. Whether we as legal marketers like it or not, the reality is that we are all “tech people” now.

We acknowledge this is difficult; change is hard! Going into a room of successful people — ahem, lawyers — and telling them their paradigm needs to change… The odds are against us. But, what would motivate them to listen? If we use technology to change the way we share and leverage information about our firms in order to create a more meaningful client experience, change will happen.

When working on a specific initiative, step outside of the “project tunnel.” Look around, and confirm that your marketing team, the working group of attorneys and other professionals involved in the project are on the same page. Keep your eye on the prize and help those around you see the benefits ahead. Confirm that they understand the pain points and can articulate the positives and navigate the negatives. Communicate progress and successes, great and small. Don’t be afraid to admit when something isn’t working. The team you build will be equipped to be your problem solvers and the advisors in this process.

In order to maximize our technologies, emphasis must be placed on the business case. We often focus on this when requesting approval for a new technology, but it’s imperative to do so at every stage of the project, even after a successful launch. Embracing a new technology is a disruptive change for a firm, and we need to address it as such via change management principles such as training, guidelines, and being positive stewards of the new technology. Highlight its positive results and value to other departments and attorneys. Most important, when you launch it, don’t walk away. Live in the “on” stage, and leverage the information gleaned for even more positive results.

Below are a few “tech recipes” and how we made it work at our firms:

Websites: Your website may be brand new, or you may feel it’s awful. Either way, use it! Maximize your attorney biographies. Post to your news or knowledge center daily. Make your content and SEO power work for you. This is one key example of living in the “on” stage. Your website should never stop changing.

Blogs: Attorneys not giving you content? Make it up. All joking aside, leverage sponsorships, programs they’ve presented, events you’ve attended and alumni magazine mentions. Anything. Aim for posting at least twice a month.

Email Automation: Get those newsletters out. Measure the open rates, look at the data, share it with your attorneys, and help further refine the next round of content based on your subscribers’ interests.

Social Media: Get on social media (and, don’t be afraid of Facebook). Tag your attorneys (but, ask them first). And if you have a decent network of your own, cross-share. Build a network with media in the legal space and industries in which your attorneys focus. You will see the impact and create motivation for your attorneys to be involved.

Contact Relationship Management (CRM): If you can get approval for an investment and it doesn’t already exist, push for CRM or some equivalent to track your client contact info. You may be surprised but many firms still do not track this vital information. (Don’t forget those pain points mentioned!) CRMs come in all shapes and sizes now. Connect with your professional colleagues in LMA to learn about what’s worked and what hasn’t for firms of different sizes, different budgets and other considerations.

Webinars/Podcasts: Augment the written word with the spoken word. Webinars are inexpensive (and even free through some outside offerings like Strafford Publications) and can be promoted before and after as events. Podcasts offer client convenience and minimize attorney stress due to their short nature and opportunity to listen on the way to work, etc.

Experience: It doesn’t have to be an off-the-shelf solution. Start with a coalition of the willing, the groups that have a pain point and are willing to work with you to solve it. Identify critical pieces of information that will allow you to gain insights from other sources of information such as client-matter numbers. Design with your future end-product in mind, not just solving today’s problem.

Added Bonuses: And, no matter what, content can and should be repurposed on all of your channels. Boost the social posts by targeting your audiences; impact can be had for as little as $50.

Remember: Implementation of technology — and promoting/monitoring thereafter — is KEY. Listen to your users, and modify and update as needed. Report regularly to your internal stakeholders on your successes, challenges and the value provided. With apologies to Gandhi, exemplify the change you want to see in your world.

By Rachel Shields Williams, Senior Manager of Experience Management, Sidley Austin, LLP; Terra Liddell, Chief Marketing Officer, Finnegan; and Roy Sexton, Director of Marketing, Clark Hill PLC, for the Fourth Quarter 2018 LMA Mid-Atlantic Region Newsletter

 

 

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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.