For kids of all ages – the #PiedPiper – with yours truly reading the title role. Thank you, Debbie DeCeco Lannen and Pass The Time Players, for having me. NOTE: no (virtual) rats were harmed in the making of this #Zoom event. You’re welcome. 😊 🐀 🎶
The Pied Piper of Hamelin Narrator: Debbie Lannen / Orlando, FL Merchant: Sally Daykin / DeLand, FL Erich – Kyle Coykendall / Wixom, MI Advisor: Tomothy Majzlik / Westland, MI Mayor: Joe Lannen / Orlando, FL Pied Piper: Roy Sexton / Saline, MI
Only I would take this beautiful day, and spend most of it indoors, working my way through the very long Zack Snyder’s Justice League. But it was worth it. Even if every 30 minutes John wandered through and said “Is this still on?”
I can barely remember the theatrical version, which is likely for the best. What I found in this updated version is that Snyder had room to explore ideas and relationships. And that made all the difference. I am not a fan of his work. By any stretch. But, perhaps because of what he has lived through the past few years, this film had something many of his previous efforts did not: heart.
My mom Susie Sexton’s take on Carey Mulligan’s Promising Young Woman:
GOOD GOD ALMIGHTY…already loved this actress … discovered her on PBS in a Dickens entry years ago. Outstanding!
This movie upends with its surreal treatment of a very real truth bedeviling this globe since the appearance of manKIND walking on its own evolved two feet – astounding, disturbing and so true and sad that it hurts, haunts and breaks any heart that is the least bit human.
The barbie doll sets and clothes simply enhance the deep damage done to humanity as we have all looked the other way and endured unnecessary heartache. Give it a look, enjoy!
No nudity, and only one supposed murder. An oddly wholesome at times comedic treatment of a tragic problem. Bravo!
Threw this viewer for a loop (which most all of us have existed within for all of eternity). Truth on film if there ever ever was. Whew?
If classic playwright Dario Fo wrote for Saturday Night Live in these technologically insular COVID days, I suspect he would have come up with something like Ron Riekki’s 4 Genres. That is a compliment BTW.
From Theatre NOVA’s press release: “Theatre NOVA, Ann Arbor’s professional theatre with an exclusive focus on new plays and playwrights, presents a new play written specifically for the Zoom format each month (January through April) with their PLAY OF THE MONTH series. 4 Genres by Ron Riekki, the second offering in the series, will be performed live on Zoom on Wednesday, February 24th at 8pm and available ON DEMAND for Series Pass holders through May.
“In 4 Genres, four characters reveal what they’ve learned after being trapped within four respective film/theatre genres (musical theatre, documentary, slapstick, and horror). A hilarious comedy exploring the role of art in life and society, 4 Genres is directed by Theatre NOVA Founding Artistic Director, Carla Milarch and features Jennifer Felts (An Almost British Christmas), Nate John-Mark (A Hero of Our Time, 2020), Dan Johnson (Kill, Move, Paradise) and David Moan (I’m Streaming of an Alright Christmas).”
The show uses its “high concept” as a lens to address (lightly) the existential dread we have all been experiencing for one year now under COVID – this week being the anniversary of first going into lockdown, if I recall correctly. My mind feels as rattled as those of the characters in this piece.
4 Genres moves briskly. More than a few technological mishaps (I’m assuming unintentional) – dropped sound, internet wobbles – aid and abet the viewing experience. We ain’t looking for polish in quarantine.
The four performers are marvels of commitment. John-Mark has the showiest role, and he doesn’t miss a trick. He mines comedy gold from the anxiety of being trapped in a “summer camp/asylum/orphanage” populated by werewolves, witches, chainsaw killers, but NO orphans. The richest laughs come from his exasperated delivery of quips aplenty.
Moan has a ball leveraging his musical comedy chops. Ironically, singing seems to cause his character physical pain, even as his dulcet tones delight the viewer. Spoiler alert: you may never hear “You Will Be Found” from Dear Evan Hansen the same way again. And Moan’s “Rose’s Turn”-style nervous breakdown medley at the play’s conclusion is pretty damn brilliant. For that moment alone, this is one of the few Zoom shows I wouldn’t mind seeing staged IRL when and if this quarantine ever ends.
Felts and Johnson do reliably fine work in their respective roles. If Riekki were to make any revisions to the script, I might recommend taking another pass at these characters. These two roles don’t benefit from the same comically sharp definition as the others, so the piece suffers a slight imbalance. Again, that isn’t a result of Felts’ and Johnson’s performances. They both go all in, but they don’t have as rich of material to explore.
Director Carla Milarch knows how to position new works effectively. She has a marketer’s eye for pulling out a unique hook that will engage the audience. She leverages the immediacy of Zoom with its inherent isolating limitations – literally everyone is in a box – to provide a proper framework for the narrative. However, she also gives her actors *some* free reign, pulling the camera back a bit so that they each exist in three dimensional space, be it a charnel house, B&W soundstage, or velvet curtained cabaret. This offers the actors refreshing opportunity for physical business, in addition to the more typical “lines delivered directly at the camera” that we see so frequently in the ever-evolving pandemic-remote staging style.
I must admit that one of the things I find most appealing about this Zoom-based delivery mechanism for theater is that I can watch it on a Sunday afternoon, a week and a half after the premiere, knowing that my review can still benefit the overall experience, not only of this production but of the series. Will we ever go back to showing up collectively at one start time on one date and committing an evening to viewing theater? I hope so, but I don’t hate that this show is only 30 minutes and I could enjoy it while wearing my pajamas.
The show is a helluva lot of fun, as witty as it is thought-provoking, and serves as a nifty little showcase for four very talented local performers. Definitely check it out. If nothing else, it provides a lovely waiting room distraction as we all still figure out how in the heck to get vaccinated.
Tickets are $10 each month, or $30 for a Series Pass, which includes admission to four plays for the price of three and the opportunity to view all four plays ON DEMAND if any of the live performances are missed. Purchase tickets online at www.TheatreNova.org. For more information, pleaseemail email@example.com. All proceeds benefit Theatre NOVA’s ongoing efforts to stay alive through the pandemic. This activity is supported in part by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.
MEET THE CAST OF 4 GENRES:
Nate John-Mark (Horror) is originally from Grand Rapids, MI. He attended Western Michigan University where he pursued a degree in Organizational Communication. Nate has always had a passion for performance and poetry which he satiated by hosting events on campus to create platforms for artists like himself to be heard and seen. After undergrad Nate began an Audience Development Assistantship at the Oregon Shakespeare Festival where he was later introduced to performing Shakespeare with the OSF school tour. He has since joined Universes Theatre Ensemble, performed in Shakespeare tours around the country and is now living as an actor and playwright in Detroit, MI.
Dan Johnson (Doc) returns to Theatre NOVA after previously appearing in James Ijames’ KILL MOVE PARADISE (Winner, 2019 Council Cargle Wilde Award) and has been fortunate enough to work in SE Michigan theatre for the past decade, including recently winning 2020 Wilde Awards for Best Supporting Actor in a Play (MISS BENNET: CHRISTMAS AT PEMBERLEY) and in a Musical (MAN OF LA MANCHA). Along with his partner, Ashley M. Lyle (blaqn.org), Dan has also co-created “Toward An Anti-Racist Michigan Theatre,” a statement and workshop meant to help facilitate the work of positive, transformative change in 2021 and beyond. Many thanks to the cast and crew, to Mom, Dad and Angela for their love and support and (now more than ever) THANK YOU for supporting live Michigan theatre and theatre artists. Enjoy!
David Moan (Musical) is honored to be back on the virtual NOVA stage as part of 4 GENRES. Originally from Pittsburgh, David was most recently seen as the Big Man in Red in the 2020 panto, I’M STREAMING OF AN ALRIGHT CHRISTMAS at Theatre NOVA. In the before times, David could be seen on real stages throughout southeast Michigan most notably as John Wilkes Booth in ASSASSINS and SWEENEY TODD at the Encore, God in AN ACT OF GOD at the Dio, and Martin in CANDIDE with the Michigan Opera Theater. Until Theatre is back in full, you can find David “performing” while playing video games at twitch.tv/davidmmoan. David would like to thank “everyone at Theatre NOVA for finding a way to make theatre happen, Monica and Kim for keeping me sane in quarantine and all of you for supporting the arts in the time we need you most.”
Jennifer Felts (Slapstick) is currently a lecturer of Theatre at Eastern Michigan University and received her Master of Fine Arts from The London International School of Performing Arts. She directed TROJAN WOMEN and THE BIRTHDAY PARTY at Eastern Michigan University and VENUS IN FUR at the Performance Network Theatre. She has created movement, choreography and stage combat for many productions including SPRING AWAKENING, ONE MAN, TWO GUV’NORS, FIDDLER ON THE ROOF, URINETOWN, JULIUS CAESAR, ANGELS IN AMERICA, DEAD MAN’S CELL PHONE, BUD, NOT BUDDY and EQUUS (Wilde award for Best Movement Direction). As a performer, she has worked at the London Gate Theatre in the UK, Tipping Point, Andiamo Theatre, Theatre NOVA, and Performance Network. She also enjoys devising and collaborating on new work such as SIMONE: AN EVENING IN CHAPTER TITLES at Detroit’s Planet Ant Theatre or SHOULDER TO THE WHEEL at the Riverside Arts Center.
My notes on a wildly uneven show, that ultimately found its footing after a literal amateur hour opening …
Let’s hope next year, we see some return to normalcy, whatever that once was. And we won’t have to play whack-a-mole trying to figure out where and how to watch the various movies and shows being honored.
“at least borat won the night! i call that justice! otherwise, i kept forgetting what exactly i was watching or why….and maya rudolph did remind me of past mavens of the entertainment industry whom i would list here but i ain’t gonna! tina and amy got pretty feisty, did they not? in that opener? i guffawed in spite of myself as i feel feisty as well…they captured the essence of this nonsensically bizarro world.”
Theatre in pandemic requires ingenuity, creativity, and miles and miles and miles of heart. Oh, and a good internet connection. Michigan’s Open Book Theatre Company is killing it.
Artistic Director Krista Schafer Ewbank has created an outlet for talented artists across the country and particularly here in Michigan to offer what could be best described as bespoke theatrical offerings. Whether it’s a musical staged at a drive-in, behind a picture window or in someone’s driveway or a ten minute, one person play delivered one-on-one (actor to audience), the company has kept theatre alive in these dark times with magnificent results. (I reviewed their production of iPoppyin October.)
Their latest offering is Emily Rosenbaum’s Home Less– as described on the Open Book website: “On her child’s eleventh birthday, a mom reflects on bravery, helping, and the Hogwarts sorting hat.” The conceit of the show is that the mother in question (local legend and, yes, my friend Carrie Jay Sayer) is recording on video a message that her son will read fourteen years hence on his twenty-fifth birthday.
The mother’s message is funny, heartfelt, often poignant, reflective of the unifying isolation of 2020 and the sense of helplessness throughout. The joy of celebrating her bright and adventurous child on his birthday is overshadowed by her guilt that she hasn’t been fully present for him, consumed as she is by the Sisyphean task of her day job: finding warm shelter for the ever growing numbers of homeless people.
The playwright offers in her notes on the piece: “But there’s no such thing as a homeless person. There are people who are experiencing homelessness, just as there are people experiencing food insecurity, domestic violence, and poverty. All of these traumas are human rights violations; none of them are characteristics of people. The systems that perpetuate these violences upon people are complex and deeply rooted. They are, in fact, our economic, educational, governmental, healthcare, and food systems. They serve some people well and are designed to keep others oppressed. … All sorts of circumstances can lead to homelessness, but there is only one remedy. A home.”
Sayer turns in a master class of nuanced understatement, with crisply drawn emotion and empathy, framing herself carefully in the Zoom-based “stage.” She is aided and abetted by Angie Kane’s steady, no frills direction, maintaining focus on words, message, and face. Sayer is a compelling presence, transcending the inherent limits of technology to connect with her singular audience member. We as viewer take the place of the birthday boy, with Sayer delivering her deepest thoughts and fears directly to us. The effect is as haunting as it is relatable. Sayer paces her delivery with varying rhythms and levels, taking us through the highs and lows of a mother grappling with widescreen societal issues and small screen personal ones. This is an exceptional performance, not to be missed. Instructive, cathartic, essential.
Remaining performances are available on January 18th, 21st, and 25th and can be scheduled here. Tickets are $20.
Join me for a panel discussion on January 27, 11:30 AM EST! Register here.
Almost every law firm currently using CRM and other marketing and business development software is looking for ways to increase the ROI on these technology investments. In the pursuit of success with technology, sometimes learning what NOT to do from people who have dealt with challenges can be more instructive than hypothetical discussions about what you could or should do.
Join us January 27 at 11:30 AM EST for part two of this four-part series examining some the top issues that can lead to “Epic CRM Fails.” You will hear from experienced marketing and business development professionals who will share real-life stories of how they overcame these obstacles. You’ll also see never-before-released videos that capture the frustration of failure – and get actionable ideas and best practices to succeed.
Here are just a few of the #EpicCRMFails “potholes” you will learn to avoid on the road to CRM Success:
Problems First, Products Second – Identify your needs and requirements first before attempting to evaluate software.
Let Lawyers Be Lawyers – Perhaps professionals who bill hundreds (or more) of dollars an hour shouldn’t be tasked with data entry. Minimizing their efforts by automating processes can maximize value – and adoption.
No Dog and Pony Shows – Don’t get distracted by shiny bells and whistles. Instead choose the features and functionality that match your needs and requirements.
Defeat the Deluge of Data – Don’t drown in dated data. Instead focus on getting information you need to succeed, keep it clean and turn it into actionable insights.
We hope you’ll join us for this fun and interactive discussion. We will also be accepting “fails” from the audience and awarding prizes for submissions.
Chris Fritsch, CRM Success Consultant and founder of CLIENTSFirst Consulting, has helped hundreds of law firms select and implement the right Client Relationship Management and eMarketing solutions to support their marketing and business development efforts and maximize return on investment. Her team of almost 100 data quality professionals helps firms clean and enhance data and maintain ongoing quality. A recognized authority on marketing and business development technologies, Chris writes and speaks nationally on topics including CRM, eMarketing and data quality. She was named among the top 10 Marketing and Business Development thought leaders in the JD Supra Readers’ Choice Awards. She was also inducted as Fellow of the College of Law Practice Management for her consulting contributions to the profession. Chris received her law degree from Emory University School of Law in Atlanta, GA.
Christopher Raymond, Intapp
Chris Raymond, Practice Group Leader, Marketing and Business Development at Intapp, has spent nearly 15 years in the legal industry, working with Knowledge Management, Marketing and Business Development teams of AmLaw200 firms across the country. He is Chair of the Legal Marketing Association (LMA) Northeast MarTech SIG.
Chris joined the Intapp team as part of the OnePlace acquisition and previously worked at LexisNexis.
Roy Sexton, Clark Hill
As Director of Marketing, Roy Sexton helps lead Clark Hill’s marketing, branding and communications efforts. Sexton has nearly 20 years of experience in marketing, communications, business development and strategic planning. He has been heavily involved in the LMA as a regional and international leader and serves on numerous nonprofit boards and committees, including the Ronald McDonald House Charities of Ann Arbor, Royal Starr Film Festival, Mosaic Youth Theatre of Detroit and encoremichigan.com. Sexton earned his Bachelor’s degree from Wabash College, and holds Master’s degrees from The Ohio State University (M.A., Theatre) and the University of Michigan (MBA). He is a published author with two books, “Reel Roy Reviews,” Volumes 1 and 2, taken from his blog of the same name www.reelroyreviews.com.
Thank you for helping celebrate my birthday month (December 28 to be exact!) by helping others! Your contributions make an impact, whether you donate $5 or $500 – here is the link to the fundraising page: https://lnkd.in/eQ_NVZD
I’m a proud board member of RMHCAA and have seen firsthand how every little bit makes a huge difference. Thank you SO MUCH for your incredible support! Love you. ❤️
Happy New Year!
Thank you to these wonderful donors! (Apologies to anyone missed – these are screen captures from the record Facebook provides.)
Wonderful miscellany …
Going through the week’s mail, and I spy this gem! Another hidden Wabash College connection or two: the Blue Bell plant manager mentioned here was my grandfather Roy Duncan, and JoEllen Adams, Jim Adams’ daughter, was a close friend of my mother Susie Sexton. JoEllen was a big influence on me choosing Wabash as was Bob. The Lilly Fellowship I received helped too. 😊
Congrats, Ellen and Bob Kellogg, on this well-deserved recognition – and thank you for your support of Wabash! Happy New Year and Wabash Always Fights!
Love this, David Troutman, Scott Feller, and team!
Thank you, Holly Maurer-Klein, SHRM-SCP, for this inclusion in HR/Advantage Advisory LLC, Powered by Clark Hill PLC’s year-end newsletter. Happy New Year, all! #Gratitude is more essential than ever these days.
“Throughout the year, Clark Hill Law PLC (HR/AA is a division of Clark Hill) holds Town Hall Meetings where the firm communicates and celebrates promotions, business wins, and goal achievement. For the year-end meeting in 2020, the firm decided to do something different. As Roy E. Sexton, Director of Marketing, described it recently, ‘our executive team at Clark Hill identified gratitude as the core theme for our year-end Town Hall. We organized a survey to collect examples in our colleagues’ own words and had them submit video shout-outs.’ Employees–the IT team and administrative staff who kept the firm’s wheels turning, fellow attorneys who had been quick to jump in to help when someone was sick or absent–heard heartfelt, personalized, and public descriptions of the impact of the ‘behind the scenes’ work that they had done. As an observer, it was uplifting. As Roy described it, ‘the results were phenomenal. People felt seen and heard and, most importantly, appreciated.’”
There is good in this world. We were blown away, Megan McKeon and Eric Lewandowski, by this incredible Christmas gift. John and I are big Supernatural fans, and Mark Sheppard’s “Crowley” is a particular fave. But even more, what he says here in his message is so heartfelt and kind and inclusive and loving. We were both incredibly moved by his words, and I suspect others will be as well. Megan and Eric – and Mark! – we love you very much. Our hearts are full.
Joe: You’re Norma Desmond. You used to be in silent pictures. You used to be big.
Norma: I am big. It’s the pictures that got small.
From Sunset Boulevard
“If you dream it, you can achieve it.” – Maxwell Lord (Pedro Pascal) in Wonder Woman 1984
“Nothing good is born from lies.” – Diana (Gal Gadot) in Wonder Woman 1984
Sadly, this seems to be the season of watching big ticket blockbusters crammed onto a home screen. Furthermore, this seems to be the season where all of your Facebook friends march like lemmings to tell you what you’re supposed to think of said offerings before you even have had a chance to view them for yourself. Being the good-natured contrarian that my parents raised, I find myself in direct opposition to much of the feedback I’ve observed. To me, The Prom was kind-hearted escapism-with-attitude, Ma Rainey’s Black Bottom was a stagy self-indulgent slog, Midnight Sky was a resonant Truman Capote-meets-Ray Bradbury short (long) story, and Wonder Woman 1984 was a candy-coated (admittedly overstuffed) confection.
I loved The Prom. I, for one, like unapologetic musicals, and this Ryan Murphy production reads like Hairspray, The Greatest Showman, High School Musical, and Bye Bye Birdie had a socially progressive movie baby. Much needless ado has been made about (formerly?) beloved Carpool Karaokemaven James Corden playing a gay character, claiming his take is offensively stereotypical. Many critics’ descriptions have been as troubling as what they accuse Corden of perpetuating, if you ask me.
To me, it is one of Corden’s better and more thoughtful performances, layering broad comedy in a compelling gauze of pathos, to effectively depict a man struggling to find his path in the margins (in career, physicality, and, yes, sexuality). Corden is part of a free-wheeling quartet of Broadway narcissists (all compensating for respective ghosts of failures past) who descend on a small Indiana town to “rescue” it from its own prejudices after the local PTA shames and embarrasses a young lesbian (luminous newcomer Jo Ellen Pellman) in a way that would make even John Travolta’s character in Carriecringe.
Meryl Streep (channeling a caustic yet charming mix of Patti LuPone and Susan Lucci), Nicole Kidman (at her most winsomely fragile), and Andrew Rannells (all bounding and puppyish joy) are Corden’s partners in well-intentioned, occasionally misplaced crime, and they have fabulous chemistry. Kerry Washington is suitably evangelically vampy as the rigid PTA president, and Keegan-Michael Key is a pleasant surprise (both as a singer and actor) as the high school’s show tune loving principal. Tracey Ullmann pops up as Corden’s regretful Midwestern ma, and their reconciliation scene is a lovely little masterclass in heightened understatement.
Oh, right, I did say the movie is kicky fun, but nothing I’ve written here much indicates why. Working from Matthew Sklar’s buoyant Broadway production, Murphy and team overdo everything in all the right ways, juxtaposing all-too-real intolerance and heartache (basically everyone in the film is guilty of uninformed prejudice of one kind or another) with the metaphysical joys of unhinged singing, dancing, glitter, and sequins. All ends (predictably) happily, almost Shakespearean (if Shakespeare listened to Ariana Grande), and I dare you not to sit through the end credits with a stupid, hopeful grin on your face.
Ma Rainey’s Black Bottom is also adapted from the stage, as legendary director George C. Wolfe brings August Wilson’s play to the screen. I suspect my disappointment is more to do with the source material than Wolfe’s sure-handed if claustrophobic direction. To be honest, I wanted more of Viola Davis’ dynamite Ma Rainey and less of … everyone else. Davis has one scene worthy of the Hollywood time capsule, eviscerating the misogynistic and racist capitalist machine that steals artists’ voices (quite literally as Rainey is committing her vocals to vinyl) and tosses people to the curb when they’ve outlived their usefulness.
The film depicts one day in a Chicago recording studio as Rainey fights with, well, anyone who crosses her path in defense of her vision and to retain her integrity in a world that reduces her to a commodity. THAT is the movie I wanted to see, but Wolfe gives preferred time to Rainey’s studio musicians, a group of men whose primary purpose seems to be representing inter-generational animosity among those with a Y-chromosome. Perhaps I’ve just had my fill for one lifetime of toxic male posturing, but I grew weary of their (endless) scenes.
In total, the film feels like it never really escapes the confines of the stage, and I may be among the few viewers underwhelmed by Chadwick Boseman’s performance. His work seems hammy and like he is in search of another movie altogether. I could be wrong, but the overwhelming praise for Boseman here feels like groupthink rhapsodizing given that he is no longer with us. I’m going to hell. See you there. Boseman remains a singular talent, but I don’t think time will be kind to this particular role, Oscar-winning as it likely will be.
Wonder Woman 1984 follows the loping narrative style of all inexplicably beloved films made in, well, 1984, and thereby is a kind of referendum on the cardboard excess and shallow instant gratification of that hollow era, nostalgia for which continues to plague us in insidious ways to this very day.
I found it nicely character driven with a strong cast and with a warm and (mostly) light touch, but plagued by some script/logic problems in its final act. All in all, it met my comics-loving expectations, and I enjoyed what they were doing. Gal Gadot remains a commanding presence in a way we just don’t see in screen stars these days. She’s not an actor per se, but she is a star.
Director Patty Jenkins has great Rube Goldberg-esque fun with one improbable action sequence after another. All were clearly nods to similar films of the 80s featuring, say, Superman or Indiana Jones but enhanced through modern Fast and the Furious-style tech and suspension of disbelief. I’m not looking for pragmatism in a movie like this. Sometimes I just want to be entertained, and WW84 did that for me
Jenkins makes the smart choice of casting talent who will connect the dots in a wafer-thin script. In the film, Kristen Wiig consistently makes smart acting choices as her character progresses from heartbreakingly nerdy sidekick to sullen and insolent supervillain, never losing the heartache of exclusion underneath it all. I thought she was a refreshing and inspired choice to play Barbara Minerva/Cheetah.
Dreamy/witty Chris Pine doesn’t get much dialogue/plot to work with as newly resurrected love interest Steve Trevor, but he shines nonetheless, wringing laughs from fish-out-of-water nuance without ever belaboring the joke.
Pedro Pascal balances Trumpian satire and Babbitt-esque tragedy as a gilded charlatan who believes 80s greed is the key to self-acceptance. He’s grand until the dodgy final act strands him somewhere on manic Gene Wilder-isle, and the film limps to its inevitable world-saving resolution.
I also think if people had watched WW84 on the big screen, they would have walked away with a different vibe. Some may disagree, but there’s a hidden psychological bump to paying for a ticket and investing time away from home (one WANTS the movie to be good) that is erased by the small screen – which has little to do with what is actually being viewed. IMHO.
The global warming parable Midnight Sky (directed by and starring George Clooney), however, benefits from small screen viewing. That said, the film’s outer space, nail biting, race-against-time elements have all been covered (sometimes better) in The Martian, Interstellar, Ad Astra, and George Clooney’s own Gravity. Hell, throw in Event Horizon, Sunshine, and The Black Hole for good measure.
Rather, I enjoyed the film’s quiet moments with Clooney as the sole (maybe?) survivor on an ice-covered Earth, as he fights the elements, time, and his own failing health to deter a deep-space crew from returning to their certain death on an uninhabitable planet. I didn’t give two hoots about the space mission, which included Felicity Jones, Kyle Chandler, David Oyelowo, and Tiffany Boone, all doing their level best to make us care. However, I was transfixed by an almost unrecognizable Clooney who checked his golden boy charm at the door and exquisitely projected the exhaustion and anxiety and fear of someone nearing the literal end. So, in other words, how most of us feel in 2020.
If it were up to me, I would edit out all of the space-faring scenes and leave the film’s focus on George Clooney alone in a post-apocalyptic arctic, yielding a transcendent hour-long Twilight Zone episode.
Now, let’s see how I fare in the Twitterverse when I finally turn to watching Disney’s/Pixar’s Soul …
Postscript …what follows is an email sent to my mother Susie Sexton this afternoon about 1960’s classic Cimarron. They don’t make movies like this any more, and that’s a shame.
From IMDB’s synopsis: “The epic saga of a frontier family, Cimarron starts with the Oklahoma Land Rush on 22 April 1889. The Cravet family builds their newspaper Oklahoma Wigwam into a business empire and Yancey Cravet is the adventurer-idealist who, to his wife’s anger, spurns the opportunity to become governor since this means helping to defraud the native Americans of their land and resources.”
I just finished Cimarron and liked it very very much. I do think that Edna Ferber captures perhaps somewhat formulaically but absolutely effectively, the passage and snowballing magnitude of time and life, with a lovely progressive sensibility (pun unintended).
Maria Schell is exquisite. I don’t think the film would’ve been half as good without her in it. I really like Anne Baxter too. Their one scene together is quite understated and powerful.
Glenn Ford is of course great too, but Maria Schell really got to me. She acts in a style ahead of its time. It’s a beautiful film, but at least in the first ten minutes I kept expecting them to burst into song. When it really digs into their struggle and unpredictable relationship, it’s very powerful. The supporting cast was of course great since all of those people had been in one million films already.
Thanks for recommending this! Love you!
My family loves movies. We always have. It is our cultural shorthand, and every holiday – until this one – has been spent in communion over what movies we saw, how they made us think and feel, and what these films might say about our culture and its advancement. That is in short why I write this blog. I can’t imagine watching a movie without having the opportunity to share how it speaks to my heart and mind.
Thank you for reading these thoughts of mine for nearly ten years (!), inspired as they are by a lifetime of loving movies.
Teen melodrama often has been an effective cinematic metaphor for the human condition. When it’s done well – with pathos and wit – it can be transcendent: Clueless; Easy A; Booksmart; The Edge of Seventeen; Mean Girls; The Fault In Our Stars; Saved!; Love, Simon. There’s now one more to add to that auspicious collection of films: The Never List.
Deftly directed by Michelle Mower, from Ariadne Shaffer’s sensitive screenplay, The Never List details the challenges facing two tightly bonded childhood friends Liz (Brenna D’Amico) and Eva (Fivel Stewart) while navigating the slings and arrows of high school and what happens when tragedy befalls one of the pair.
Stewart and D’Amico are compelling, luminous presences, and their dynamic as lifelong friends is as engaging as it is ultimately heartbreaking. One of the key differentiators in this film versus comparable efforts is how believably teen life is depicted: messy, ugly, tempestuous, deep-feeling, loving, and, yes, kind. There is no shortage of bullying in the film, but it is authentically portrayed, notably in the light it shines on quickly shifting sands of adolescence (re: who doles out vs. who is victimized by bullying) … sometimes in the span of just one afternoon!
The conceit of the film is that Liz and Eva, both straight-A over-achievers, have created impish, ill-behaved alter egos named “Vicky and Veronica” whose “never list” includes all the bad deeds they’d like to perform in real life but just … can’t. After the aforementioned tragedy, Eva, aided and abetted by neighborhood hooligans (with hearts of gold) Joey (Andrew Kai) and Taylor (Anna Grace Barlow), starts checking items off the list, spiraling to a point of no return that is at turns predictable and refreshingly dark.
Mower avoids the satirical light touch of, say, Mean Girls or Clueless, that might bring safe harbor to an audience, instead embracing the avant garde notion😉 that, well, nasty deeds hurt people and have consequences. Crazy that! Stewart turns in a nuanced performance, projecting beautifully the inscrutable and mercurial ways of a grieving teen.
Kai and Barlow offer a fresh take on the “bad influence” trope, revealing the sweetness at the core of the misunderstood and offering a nice redemption for those marginalized unfairly in the brutal gauntlet that is American high school.
Mower has offered some fun “Easter eggs” in her casting as well for those who follow this genre. All of the aforementioned actors have cut their teeth in any number of Disney/CW/Netflix productions (e.g. The Descendants, Atypical, Supernatural), but the real surprises are Jonathan Bennett (AKA Mean Girls’ Aaron Samuels) and Keiko Agena (AKA Gilmore Girls’ Lane Kim) as, respectively, high school teacher Mr. Snyder and Eva’s mother Jennifer.
Bennett is a winsome presence, bringing brightness to his classroom scenes. Agena knocks it out of the park as Eva’s anxious, beleaguered helicopter-parent, bringing the rapid-fire spark she always had as Rory Gilmore’s bestie but with heartbreaking poignancy that only a few decades of real living can bring.
Agena leaves it all on the field in her scenes and gives the film its emotional anchor, particularly in the film’s final act. Matt Corboy (from George Clooney’s – not Disney’s – The Descendants) is a great foil for Agena as her husband and Eva’s father, walking that fine line of sharing parental burdens while finding his own voice in the mix. Corboy and Agena have great chemistry, tracing realistically the trajectory of shared life through only a handful of scenes.
In addition to the exceptional ensemble, Mower has great fun using Eva’s pen and ink illustrations (she aspires to be a graphic novelist) to, literally, animate key moments in the film. Introduced about one-third of the way into The Never List, the cartoon versions of “Vicky and Veronica” offer silent commentary on the proceedings, adding some necessary comic relief without detracting from the film’s gravitas.
And the soundtrack is a pip too – angsty and poppy in all the right ways, consistent with the inner and outer lives of these rich characters.
The film is in limited release and more info can be found here: https://www.neverlistmovie.com/. I do hope this challenging but fun, sweetly affirming film find its audience in these trying times. It’s a keeper and worth seeking out.
Want to join me in supporting a good cause? For my birthday this month (December 28 to be exact!), I’m raising money for Ronald McDonald House Charities Ann Arbor and your contribution will make an impact, whether you donate $5 or $500. Just click donate on this fundraising page: https://lnkd.in/eQ_NVZD
I’m a proud board member and have seen firsthand how every little bit helps. This little fundraiser is nearing the $2500 mark because of wonderful support from kind and generous friends like you!
Thanks to our donors-to-date: Gail Paul, Jan Anne Dubin, Tammy Zonker, Nathan Darling, Lauren Sargent, Zach and Lauren London, Deborah Farone, Kim Perret, Randi Lou Franklin, Megan Hill, Julie Flitz Maeder, Liz Doyle, Jon McHatton. Love you! ❤️
“Your imperfections make you special.” – Joey, student actor in “Spotlight,” the final episode of Marvel’s 616
Today, we brought in our deck furniture (from the summer!) to store in the basement, that is after decorating our house for Christmas. We bought the set what feels like yesterday (April), and we dutifully covered it to protect it from harsh sun and booming thunderstorms, pretty much never sitting on it, once wrapped in a cumbersome, billowing shroud of waxy canvas. So we paid for outdoor couches, negotiated their delivery in pandemic, never used them, and just huffed and puffed maneuvering them through endless doors and hallways into our basement, in another attempt to protect them.
Futility and comedy, thy name is home ownership. Everyone keeps blaming 2020 for everything, as if an arbitrarily determined twelve-month signifier of time’s passage is the cause of our collective woes. Yet, what has actually been laid bare in this dumpster fire period is, in fact, that we are all ourselves to blame with our materialistic, self-absorbed mania day after day, a long-standing debt that finally came due. How much have we taken for granted and what damage have we done to planet, culture, ecology, health, and mental well-being in the process? We’ve likely only seen the tip of that iceberg. Ahoy, me maties!
Take these chances Place them in a box until a quieter time Lights down, you up and die Driving in on this highway All these cars and upon the sidewalk People in every direction No words exchanged No time to exchange
When all the little ants are marching Red and black antennas waving They all do it the same They all do it the same way
My last legit movie review was Birds of Prey. In February. Lord, I hope that’s not the last movie I ever get to see in an actual movie theatre. If I had only known, I’d have chosen … oh, who am I kidding? I still would have seen it. I miss the communal experience of movies, observing audience reaction and assessing the art as well as the commerce of cinema. Wild horses couldn’t get me to go now, if ever again, but I do miss it. Yet, between lone gunmen and rampant plague, performance venues are the new OK Corral.
Thanksgiving has always been a special movie time for my family. My parents and I, year after year, would see hundreds of films over the long holiday weekends, beguiled by Hollywood’s relentless marketing machine. We’d pronounce a film as “awful!” only to change our minds over breakfast, searching for connective tissue and insights into the human condition from such disparate selections as Life of Piand Daddy’s Home 2. I miss that. I miss my parents.
My husband and I have had no end of entertainment – deck furniture notwithstanding. Showing my age, I do resent that finding new shows to binge is tantamount to a digital Easter egg hunt these days. Netflix? No. AmazonPrime? Maybe. Disney+? Possibly. Do we just have this on DVD somewhere?
We’ve enjoyed a lot of what we’ve seen, at times arguably more forgiving of relative quality for the escape that Chilling Adventures of Sabrina, Ratched, Upload, All-American, Hollywood, The Order, The Boys, Emily in Paris, Mandalorian, The Umbrella Academy provided. I’m 99% certain we would have watched very few of these (let alone looked forward to each installment like Victorians eagerly awaiting the next Dickens chapter) had the world not been ending every five days. For this time with my husband, enjoying our home, staying at home, not chasing frenetically scheduled ACTIVITIES!, I am grateful. Pandemic has been a pleasant reprieve in that regard, and I may have been permanently transformed into Boo Radley as a result. Check our trees for handmade toys left for passers-by.
My dear friend Tyler Chase is a talented documentary filmmaker, and she gave me a sneak peek at her latest A Castle in Brooklyn, King Arthur. To say it was the right movie to see in my present mindset would be textbook understatement. I am haunted days after by her clear-eyed, unsentimental but utterly empathic filmic observations on the clash of creativity, capitalism, obsession, free thought, and community in postmodern America.
From the film’s website: “A Castle in Brooklyn, King Arthur with Golden Globe Award recipient, Brian Cox as the Narrator is an intimate and journalistic documentary by filmmaker, Tyler A. Chase. The intimate and journalistic documentary … filmed over a period of seven years, A Castle in Brooklyn, King Arthur, brings us through the doors of the iconic Broken Angel building and into the world of its creators, the visionary, Arthur Wood and his wife, Cynthia as they cling to their life’s work, the Broken Angel building, the last symbol of the bohemian artist culture that once permeated Brooklyn, NY.
“The Woods created the 108 foot Broken Angel objet trouvé building as a sculpture and landmark for the community located in a section of Clinton Hill bordering on Bed Stuyvesant, Brooklyn. The Broken Angel building is the subject of local and international news specials; photographed by many. The Woods are loved by their neighbors who see the iconic structure as a beacon of freedom and the threat of its destruction as an omen of the disappearance of a way of life and community. To many it is a symbol of freedom – to others an opportunity for profit.
“Filmmaker, Tyler A. Chase renders the Woods’ story as one both magical and heart wrenching; following them through triumphs, judicial blunders, injustice, evictions, and comedic moments all the while inspired by the indomitable spirit of visionary artist and creator of the Broken Angel, Arthur Wood.”
The piece, which recently received the Audience Choice Award from YoFiFest 2020 and the Grand Jury Prize from the CARE Awards International Film Festival, is lyrical and poignant and heartbreaking. Chase captures the visceral nature of what it must have been like to live in that space. And the pain of being deeply misunderstood. Grey Gardens for the 21st century.
As far as narrative techniques, Chase employs interstitial chapter headings with ironic word choices/definitions, building the momentum inexorably. Like a slow-moving car crash, it’s clear things won’t end well for Arthur, Cynthia, or their beloved home. This chapter device – dare I invoke Dickensian tragicomedy again? – accentuates the tale’s inevitability. We all know how the relentless, monochromatic push of “economic development” can destroy the delicate work of sensitive souls creating art in the margins. America, ain’t it something to see? But the viewer mustn’t look away, and Chase’s gaze assures that you won’t.
The overall construction of the film mirrors the Broken Angel itself, layering upon itself in jagged turns, a documentary collage. Exquisite. The film FEELS artisanal – no doubt because of its lengthy gestation – which brings us that much closer to understanding Arthur’s quixotic DIY style. Hello, Oscar? Don’t overlook this essential, bespoke film.
Brian Cox’ regally dulcet tones as the film’s narrator are, yes, Arthurian, yet comforting with a wry edge. The use of music – folk, classical, even what seems like Gregorian chanting – is elegiac. And the moment Chase steps in front of her camera to advocate in real-time for Arthur (at The U.N. no less!), becoming a character in the story, is breathtaking. Just when the viewer is screaming, “Why can’t someone do something for these souls?!” … she does.
(Side note: for the inevitable scripted Hollywood remake, Willem DaFoe is Arthur Wood’s doppelgänger, and he could start preparing his Academy Award acceptance speech now. And then Stephen Schwartz could musicalize it for Broadway, dusting off some of the salvageable ideas from his work on Disney’s Hunchback of Notre Dame. Broken Angel! The Musical! Arthur and Cynthia could live on forever!)
Chase tells the story of Broken Angel with an artist’s appreciation and identification sans any judgment. That’s all Arthur likely ever wanted, in his expression and in his life. Is that why some of us “live out loud,” making bold choices, seemingly incongruous with the workaday world? Semiotic code for the person to be seen and accepted as they are? More devastating than the demolition of Arthur’s life’s work is society’s sniffy rejection of his unique soul made manifest in the Broken Angel.
Surprisingly, this same theme carries through another documentary – or rather documentary series – of a more corporate variety: Marvel’s 616 on Disney+. Across eight episodes, helmed by a bevy of filmmakers, the series wisely eschews a linear recounting of Marvel Comics’ storied history, instead highlighting unsung corners of fandom and creative output.
The incisive episode depicting the rise and proliferation of women comic book writers and artists is as reflective of the fraught times in which we live as it is of Marvel’s fits and starts where inclusion is concerned. The episode about toy creation and collection is as frenetic and joy-filled as you might imagine. And the feature on Marvel’s growing community of international artists is quietly introspective and appropriately moving, if not quite compensating for Marvel’s poor track record with creators of color in the past.
Episodes, respectively, on the cosplay community and school-based theatre are almost tangentially Marvel, shining a much needed light on people left behind who found kinship, purpose, and family through the characters, stories, and mythology of Marvel. I dare you not to shed a few happy tears while viewing.
Much (digital) ink has been spilled on the episode highlighting the legendary “Marvel Method,” whereby an issue is created iteratively and collaboratively between writer and artist. Affable, jocular Dan Slott, the subject of the episode, spurred great ire from fanboys over what they perceived as his seeming disrespect for his fellow creators (and, ultimately, for the end user). Slott’s procrastination is played for comic effect in the episode, and his chronic inability to meet dreaded deadlines is excused under the guise of “Marvel Method.”
The angry binge-watching horde missed the point, however. This isn’t about their inconvenience over receiving the latest issue of Iron Man 2020 a few weeks later than expected. This is about, yet again, the thorny nexus of art and commerce. For Slott, like Arthur Wood, creative expression is a kind of one-sided communion with his fellow human beings. The procrastination prolongs the fun, the invention, the collaboration. Hitting deadline means the party’s over, only to begin again on a schedule set by management, not artists.
The episode ends with Slott prowling his local comic shop – no doubt in avoidance of work awaiting him at home – joyously name-dropping his favorite writers and artists, as he thumbs through their latest issues. In that moment, he is a figure both inspiringly childlike and painfully alone. If anything, I am now more appreciative of Dan Slott as a singular voice than I am annoyed by delays in his output.
I’m just a face in the crowd Nothing to worry about Not even trying to stand out I’m getting smaller and smaller and smaller And I got nothing to say It’s all been taken away I just behave and obey I’m afraid that I’m starting to fade away
Hey, and for what it was worth I really used to believe That maybe there’s some great thing That we could achieve And now I can’t tell the difference Or know what to feel Between what I’ve been trying so hard to see And what appears to be real
We all just want to be seen, to be understood, to matter. While writing this, my mom Susie Duncan Sexton received a glorious email from her friend and fellow Columbia City, Indiana native Bill Schwarz. My mother wrote about Bill nearly a decade ago (here), and they recently reconnected. Both are accomplished talents in their own rights (check out Bill’s singing group “New Tradition Chorus” and upcoming concert), but their appreciation for one another is inspiring. Bill just finished reading one of my mother’s books, and here is an excerpt of what he wrote to her in response:
“After reading your book (on my Nook reader) it prompted me to write my opinion… I perceived a sensitive, creative intellect that deeply cared and loved unconditionally. Your pets have that quality as does your son Roy. I sensed in your writing the wholesome expression of joy, yet I saw you tempering feelings of dismay. You said, how does the song go: ‘looking for love in the most usual places…..’”
And isn’t that all any of us desire? A voice that is heard, appreciated, reciprocated. To all of the artists in this world … thank you.
And then one day A magic day he passed my way And while we spoke of many things Fools and kings This he said to me The greatest thing you’ll ever learn Is just to love and be loved in return
The greatest thing you’ll ever learn Is just to love and be loved in return
Want to join me in supporting a good cause? Beginning this #GivingTuesday and on through my birthday on December 28, I’m raising money for Ronald McDonald House Charities Ann Arbor and your contribution will make an impact, whether you donate $5 or $500. I’m a proud board member and have seen firsthand how every little bit helps.
The mission of the Ann Arbor Ronald McDonald Houses is to provide families of children experiencing a serious illness or injury requiring hospitalization or treatment on an outpatient basis, a “home away from home” that assists in alleviating the families’ emotional and financial stress.
Honored to be included in fSquared Marketing’s “Top Trends for Law Firm Marketing in 2020 and Beyond.” Thanks to Lynn Foley for the invite. Looking forward to diving into the insightful contributions here from Lynn, Lloyd Pearson , Jessica Jaramillo , Darryl Cross , Trish Desilets Lilley , Derek Jones , Meghan Spradling , M. Ashraf Lakhani , Pamela Foster , Gordon Donnelly , and Bree Buchanan .
From the publication’s introduction: “The truth is that the core principles of legal marketing have not changed: client service, personal connections, lawyer-lead thought leadership, relationship building, interpreting the available information and using those insights to drive action. As Roy Sexton writes in his article: ‘The new trends in legal marketing remain the things we should have all been doing in the first place.’ … The best way to predict the future, and succeed in the present, is to understand why the fundamentals of the past worked. You’ll find plenty of ideas for how to build on that foundation in this year’s Trends.”
“Don’t throw the past away/You might need it some rainy day./Dreams can come true again/When everything old is new again“ – lyrics from the song “Everything Old is New Again” by Carole Bayer Sager and Peter Allen (performed by the latter)
Perhaps it is a function of my age as I barrel toward the mid-century mark, but the new trends in legal marketing remain the things we should have all been doing in the first place. Prior to entering the legal space in 2011, I spent over a decade in a consumer-facing industry – health care – that, like legal, sells a human “product”: in healthcare’s case, the wit and wisdom and technical proficiency of doctors and other clinicians.
Healthcare is not necessarily known for its progressive approach to messaging, branding, advertising, or sales, and, yet, I find it gobsmacking that, in legal, we still don’t speak in some very basic marketing terms that I learned on day one in healthcare: for instance, presence, reach, awareness, leads.
We don’t measure these things the way other industries have (for decades), and, too often, our KPIs still feel reactionary in nature. Checkbook accounting if you will … or laggingindicators to borrow from our Six Sigma friends. For example, we tout proposals and pitches generated, won, lost, or simply flushed down a well, or we throw every resource but the kitchen sink at collecting outstanding revenue. Yet, the ideas of audience growth, developing a following, and true lead generation still appear to be a glorious mystery to much of our industry.
Heavens, I sound like a cranky neighbor throwing rocks from his front porch. I don’t mean to sound so cantankerous. Truth is, I’m as much of the problem here as anyone else.
So, with that said, what trends do we need to embrace in 2020? Well, this won’t sound very sexy as I’m not about to push for new tech or shiny new toys. We need to embrace storytelling. We need to understand the brand narrative. What does your firm believe in? What is its commitment to community? To clients? What is your unique value proposition? And, nope, that can’t read as “great service, smart people, at a fabulous price.” Everyone is saying some version of that.
Get specific. Be real. We have amazing tools at our fingertips in this digital landscape (ok, maybe I am getting a bit tech-y) to pull back the curtains on our respective organizations and let clients – existing and prospective – see the inner workings of our firms. And polish and panache won’t seal the deal. Authenticity, relatability, immediacy, outcomes will. Grow an audience, develop a following, and measure the heck out of every touch point those people have with your marketing content and with your practitioners.
Those organizations with our business in their sights have a very clear brand narrative: Deloitte. EY. KPMG. PwC. Everyone knows who they are and what they do. Long ago, with basically the same business model as legal, these companies were able to overcome the confederacy of voices that derail and dilute most firms’ market voices. They clearly articulate value, competencies, and brand, and they run themselves as businesses, not as wobbly democracies. They realize that a cohesive brand does not detract from but rather enhances the visibility of individual practitioners and, more importantly, their ability to win business.
The firms that can borrow from that playbook, march in lockstep, and land a coherent and, I repeat, accessible brand message will ride high through what is likely to be a tumultuous path for the legal industry.
I’ll be sitting on my front porch with a pail of stones.
Thank you to The Post & Mail Newspaper – in my hometown of Columbia City, Indiana – for this lovely coverage of my Legal Marketing Association – LMA International appointment. #lmamkt
Roy Sexton, director of marketing for Clark Hill Law, has been named treasurer-elect for the International Board of the Legal Marketing Association. He assumed his new duties January 1 and will be working to support the continued growth of LMA.
Founded in 1985, LMA is the universal voice of the legal marketing profession, a forum that brings together CMOs and entry-level specialists from firms of all sizes, consultants and vendors, lawyers, marketers from other professions and marketing students to share their collective knowledge. More than 90 percent of the largest 200 U.S. law firms employ an LMA member. Members at every stage in their career development benefit from LMA participation because the association’s broad array of programs and services can be tailored to their specific needs. Visit http://www.legalmarketing.org to read more about LMA.
Sexton joined Clark Hill in October 2018. In his role there, he oversees the firm’s communication professionals, guides its communication efforts, and works to enhance brand awareness. Clark Hill has 25 offices, including one in Dublin and one in Mexico City.
“I’ve been a member of LMA since 2011 when I made the transition from healthcare to legal. It may sound clichéd, but this organization has become a professional family to me. I have benefited exponentially from my involvement and the opportunities to write, present, lead that LMA has afforded me. I’m beyond thrilled at this opportunity to contribute to the future of this great association, and I look forward to serving our members well,” Sexton noted. Sexton has served as a board member, presenter, and content expert for the Legal Marketing Association. Most recently, he served as treasurer for the association’s LMA Midwest Region Board of Directors.
Before joining Clark Hill, Sexton served as marketing director at Kerr Russell, another Detroit-based law firm. He has more than 20 years of experience in marketing, communications, business development, and strategic planning, previously holding leadership positions at Deloitte Consulting, Oakwood Healthcare (now Beaumont Health), Trott Law, and Saint Joseph Mercy Health System.
Sexton holds a bachelor’s degree from Wabash College in Indiana, a master’s degree in theater from The Ohio State University, and a Master of Business Administration 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 chairs the marketing committee as a board member of Ronald McDonald House Charities Ann Arbor and chairs the governance committee as a board member of Mosaic Youth Theatre of Detroit. He is a published author with two books to his credit, culled from his blog of the same name ReelRoyReviews.com. He is an active speaker, emcee, and regional actor. Most recently, he appeared as “Buddy” in Theatre Nova’s acclaimed production of Stephen Sondheim’s musical Follies, directed by Diane Hill. He received a BroadwayWorld “best actor” award for his turn as John Jasper in Ann Arbor Civic Theatre’s production of The Mystery of Edwin Drood.