Ian Thomas Malone

Tuesday

10

August 2021

0

COMMENTS

Confessions From My New Vagina (Promo)

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ITM has a comedy special out! Ian wanted to share some thoughts about why she wanted to make a trans-themed comedy album. She’s a little rusty after taking the summer off from podcasting, but very happy to have the special finally out in the world.

Confessions From My New Vagina is available on all major music streaming websites.

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Thank you for your support. Please tell all your friends and family and strangers on the street.

 

Sunday

8

August 2021

2

COMMENTS

The Suicide Squad should have been better

Written by , Posted in Blog, Movie Reviews, Pop Culture

2016’s Suicide Squad is a strong contender for worst DC film ever made, a true abomination of filmmaking. Director David Ayers has so strongly denounced the atrocity that it feels almost unfair to mention him when talking about it. Underneath the repetitive montages and failed self-referential humor existed a fairly strong core, backed by commanding performances from Margot Robbie and Viola Davis. It’s easy to see the appeal in The Suicide Squad for a talent like James Gunn, architect of Marvel’s finest dysfunctional found family, The Guardians of the Galaxy.

The bar for a sequel/soft reboot is so low that it’s almost not even worth mentioning. Two hours of Harley Quinn painting the side of a building with an old toothbrush would be better than the 2016 trainwreck. Gunn would be forgiven for trying to steer as clear of the first film as possible, but the director does deserve some credit for earnestly engaging in the aspect of Ayers’ mess that did work, namely through Quinn, Amanda Waller, and team leader Colonel Rick Flag (Joel Kinnaman).

Like the first, the plot is barely worth mentioning. Task Force X is sent to Corto Maltese, an island in South America recently overthrown by anti-American militants who seek to unleash longtime DC character Starro the Conqueror, a giant mind-controlling starfish, upon the world. Starro is the perfect subject for an irreverent mind like Gunn’s, eager to add depth to a character many others might instantly write off.

Corto Maltese is less a mission site than a playground. Gunn is rarely all that concerned with his plot, instead spending the bulk of his 132-minute runtime having fun in his sandbox. It is a fun sandbox. Newcomers such as Bloodsport (Idris Elba), Peacemaker (John Cena), Blackguard (Pete Davidson), and T.D.K. (Nathan Fillion), are all outlandishly entertaining to watch.

The cast is a little too large for a bloated feature running entirely off a sugar high, but Gunn does an admirable job carving out sections for character development. Both Robbie and Kinnaman are given plenty of chances to shine that go a long way toward correcting the way they were squandered in the first film. Davis is predictably bankable, the perfect Waller. Elba and Cena have absolutely delightful chemistry.

Gunn digs a bit deeper beyond his A-listers, giving supporting players Polka-Dot Man (David Dastmalchian) and Ratcatcher 2 (Daniela Melchior) satisfying arcs amidst the broader chaos. The script is nothing special, but Gunn has a knack for crafting interpersonal relationships that helps buoy the film when the jokes aren’t flying a mile a minute. Surprising to absolutely no one, King Shark (Sylvester Stallone) steals the show whenever he’s on-screen, a natural source of levity.

The Suicide Squad prioritizes jokes to such an extent that the film starts to fall apart whenever it’s required to function like a story, two hours of cinematic cotton candy. That’s not necessarily the worst thing in the world. Gunn’s action sequences are spectacular and the cast knows how to carry the show when the script doesn’t give them much to work with.

It’s too easy to walk away from The Suicide Squad feeling like the talent involved could’ve done a bit more with this material. This notion is particularly true with regard to Harley Quinn. Making her third appearance in a DC film, Margot Robbie is one of the company’s most recognizable and beloved faces. Robbie is a phenomenal Harley Quinn, but The Suicide Squad hardly knows how to utilize her talents, boxing her into an arc that kind of seems like it was initially designed to elevate her, but ended up reducing her overall impact to the narrative. Robbie’s tenure as Quinn is largely defined by her fabulous performances in service to lackluster films.

Despite the fairly mediocre third act, The Suicide Squad is a pretty entertaining film, albeit not a particularly great one. Gunn is obviously capable of better. The fact that the first Suicide Squad was an abomination shouldn’t necessarily preclude its successor from being a masterpiece. This effort fell short.

 

 

Friday

6

August 2021

0

COMMENTS

Season Three Is Titans’ Best Yet

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Few shows in the streaming era fire on all cylinders quite like Titans. Through a bit uneven at times through its first two seasons, there is much to appreciate in the way that the series took more after its DC siblings on The CW in emphasizing episodic storytelling rather than the slow burn dynamic deployed by costumed heroes on other premium services. Titans has never been afraid to bite off more than it can chew, a refreshingly ambitious show that manages to pay homage to seemingly every single Teen Titans era through its nearly sixty-year history.

Titans second season often struggled with the intense balancing act between the current Titans, the seemingly retired first generation, the new heroes, Bruce Wayne, and the Wilson family tree, a tall order that even Trigon would struggle with. The early episodes of season three demonstrate immense progress on this front, giving the series its strongest sense of focus since it first premiered. The pacing kinks have been thoroughly ironed out.

Season three takes a fast yet methodical approach to its narrative. As the titles of the first two episodes, “Barbara Gordon” and “Red Hood,” suggest, there’s a natural emphasis on Gotham, the home that Dick Grayson (Brenton Thwaites) can never seem to leave behind. There are some who might roll their eyes at the heightened role of the “Bat Fam,” but the change of scenery works quite well for the narrative, while still managing to include the characters whose superhero lineage doesn’t trace through the Dark Knight.

Newcomer Barbara Gordon (Savannah Welch) is an early standout. Longtime fans of the Birds of Prey comic or of Babs’ time mentoring Stephanie Brown in Batgirl vol. 3 will find much to love in Welch’s portrayal of the character. Welch hones in on Barbara’s duel tutelage from Batman and her father, a woman trying her best to put the skills from her two worlds to good use.

The inclusion of Dr. Jonathan Crane (Vincent Kartheiser) is a bit more of a mixed bag. Kartheiser puts forth a thought-provoking take on Crane, one of the meatier villains in Batman’s rogues gallery, but the framing of the character in the narrative feels more than a bit derivative of another famous villain from outside the world of comic books. For a show as steeped in DC lore as Titans is, Crane is a peculiar miss.

Season three’s biggest triumph is the way that the team really does feel like a family. There’s less pressure on Dick to be the glue that holds everything together. Interpersonal conflict exists without constantly carrying the notion that this group is one blow-up away from implosion.

The cast is probably still a bit too big for a thirteen-episode season, but season three does a much better job of sharing the spotlight. Gar (Ryan Potter) and Conner (Joshua Orpin) have a natural sibling-like chemistry that boosts every scene they’re in. As Starfire, Anna Diop remains one of the show’s best weapons, her acting elevating one of the season’s more lackluster plotlines. Hank (Alan Ritchson) and Dawn (Minka Kelly) continue to shine as elder statesmen on the team.

As a show, Titans constantly makes it easy for the audience to forgive its narrative shortcomings that bump against the confines of its television medium. Evident in practically every character is the show’s deep commitment to the long game, building on foundations established in earlier seasons. This is perhaps most evident in Jason Todd (Curran Walters), a character whose entire series arc has been building toward this particular storyline. Titans pays homage to decades’ worth of Gotham history while also paving its own course through these streets.

As a character, Jason Todd is a pretty singular figure in the Batman family. Controversially killed off in 1988, the second character to assume the role of Robin was the rare superhero who actually stayed dead for an extended period of time. Resurrected in 2005 during the “Under the Red Hood” storyline, a byproduct of the events of the multiverse-restoring “Infinite Crisis,” Jason returned, with an understandable vengeance.

The story of Jason Todd is a tragedy, destined to play second fiddle not only to his predecessor, but to the Robins who came after him. Jason’s status as the least-loved among Bruce’s children is practically a running joke throughout the source material. Though more than a bit melodramatic at times, Jason is not necessarily wrong to have a chip on his shoulder.

Titans doesn’t have the luxury of twenty years to build this sense of natural tension that flows so easily on the comic book pages, but the show manages to put forth a pretty masterful study of the character on screen. Walters captures the essence of Jason beautifully, eliciting a sense of empathy that might not come easy given the character’s abrasive nature. Certain plot choices are bound to rile some hardcore fans, but the results make for quite compelling television.

The real world has changed quite a bit since Titans first debuted, putting immense strain on practically every show currently in production. There are probably fewer on-location scenes than earlier seasons, but the crew pulled off a rather miraculous feat of crafting a product that doesn’t look like it was negatively impacted by the pandemic. Few covid-era shows provide top-notch escapism on Titans’ level.

Season three features Titans’ strongest storytelling, a confident narrative that juggles its many pieces with deep reverence for the source material. There are a few bumps along the way and storylines bound to elicit a few eye-rolls, but the show has clearly learned from some of season two’s shortcomings. Titans moves with a brisk pace, the kind of narrative that would probably be better off with an episode count similar to its CW siblings.

It’s hard to define what constitutes a “normal” run for a show in the streaming era, with shorter three or four-season arcs becoming more common. Titans could in theory last for as many seasons as Arrow or The Flash, but precedent doesn’t suggest that’s likely. With that in mind, it’s reassuring to see the show pursue its big ambitions, even knowing that not everything is going to land perfectly. The streaming landscape would look a lot better if more shows followed Titans lead and tried to leave everything on the field.

The first five episodes of the season were screened for review. Season three of Titans premieres on HBO Max on August 12th.

Thursday

8

July 2021

0

COMMENTS

F9 showcases a franchise running on empty

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The metamorphosis of the Fast & Furious franchise over the past twenty years is one of the weirdest success stories in Hollywood history. From its humble origins ripping off Point Break, to its more modest ambitions adopting the tone of The Italian Job, to its late-stage embrace of full Mission: Impossible absurdity, Dominic Toretto and co. have put together quite an impressive run in spite of their unambitious, derivative narratives. At this point, a Jurassic Park-crossover feels more inevitable, and natural, than it should. Where else can they go?

As the films get louder and more outlandish, Fast & Furious would have you believe that family is its lodestar. At best, family fulfills the narrative obligations of a James Bond-style mission briefing that explains why the film is happening in the first place. Family has always been a distant, secondary concern to the explosion machine that keeps this whole show going.

With a bloated run-time of 145 minutes, F9 spends way too much time on family. To make matters worse, the series deploys the “long-lost brother” trope, introducing John Cena’s Jakob Toretto into the mix. For a franchise that places such a heavy emphasis on family ties, it’s more than a little weird that the main character would suddenly possess a never-mentioned brother this late in the game.

The plot is pretty boilerplate fare. Dragged out of retirement after the disappearance of Mr. Nobody (Kurt Russell), Dom and his team need to find a device that could hack into any computer-controlled system in the world. Only trouble is that Jakob is also after the device, leading to plenty of predictable family drama, too often expressed through excessively long flashback sequences from when the Toretto boys were teenagers, played by actors who hardly look like convincing younger versions of Diesel and Cena.

As Jakob, Cena does a passable job playing the part of scorned brother. Trouble is that Vin Diesel has never had a ton of range as a performer, working best opposite an actor capable of elevating his talents, such as Paul Walker, Dwayne Johnson, Jason Statham, or Charlize Theron. Cena isn’t a better actor than Diesel.

While previous Fast movies staved off franchise fatigue by injecting either A-list action stars or Academy Award winners into the mix, F9 leaves Diesel too exposed with only Cena to help carry the load. Theron and franchise veteran Helen Mirren make cameo appearances that do little but remind the viewer that the experience would almost certainly benefit from their added involvement.

Director Justin Lin makes a welcome return to the franchise after a two-film absence, having been a major force in transforming the series from its street racing origins to its world-saving ambitions. Lin’s debut entry, the under-loved Tokyo Drift, is well-represented, featuring the returns of many of its principal cast, including Lucas Black, Jason Tobin, and Shad “Bow Wow” Moss.

Of course, the marquee returning player is Han Lue (Sung Kang), who appeared in all four of Lin’s Fast films despite dying in Tokyo Drift, rendering Fasts 4-6 “prequels” to the third entry. The series is no stranger to retconning deaths, having previously brought back deceased Letty Ortiz (Michelle Rodriguez) under dubious circumstances. Han’s return is no less absurd, but Kang isn’t given much to do, squandering one of the series’ best characters.

The supporting trio of Tyrese Gibson, Chris “Ludacris” Bridges, and Nathalie Emmanuel make the most of their limited runtime, at times scraping up against the fourth wall. The return of Lin, Sang, and series original Jordana Brewster (Mia Toretto) gave the series a great chance to reunite the family dynamic that made the fifth and sixth films so much fun, but F9 is too all over the place to bring this all together.

The action pieces are predictably solid, though the franchise struggles to overcome the natural diminishing returns of having seen these characters defy death on so many occasions. Lin’s big problem is the atrocious script and poor pacing. The third act sees totally unnecessary additional flashbacks that step all over the climax. Johnson and Statham look like geniuses for sitting this one out in favor of the much lighter Hobbes & Shaw, amidst some reported tension between Diesel and The Rock.

F9’s narrative shortcomings might have been more forgivable if it wasn’t such a bloated slog. The action sequences can’t cover up how badly this franchise is showing its age. Silly is one thing. Fast & Furious has generally done a good job selling the absurd. F9 is boring, a crime that’s hard to forgive.

Tuesday

22

June 2021

0

COMMENTS

BloodSisters: Leather, Dykes And Sadomasochism

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Happy Pride Month everyone! We are joined today by Michelle Handelman, director of the 1995 classic film BloodSisters: Leather, Dykes And Sadomasochism, which follows the vibrant leatherdyke scene in San Francisco.

Michelle talks about the legacy of the film and its continued relevance, especially as the subject of “kink at Pride” causes its annual faux controversy. Michelle also shares plenty of insights from making the film and the evolution of LGBTQ culture in the 25 years since its release.

Check out a trailer for the film, remastered for its anniversary release with newly recorded bonus features. https://www.youtube.com/watch?v=7PLMekZhzBQ&t=41s

The remastered DVD will be released on June 29th. You can pre-order here: https://www.kinolorber.com/product/bloodsisters-leather-dykes-sadomasochism-dvd  

Friday

18

June 2021

0

COMMENTS

Classic Film: Yojimbo

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Akira Kurosawa possessed an uncanny ability to make intimate settings feel like they carried the weight of the world. At its core, 1961’s Yojimbo is a small town political struggle, with two rival factions warring over the local gambling industry. Such a dispute hardly requires a substantive moral quandary to produce compelling drama, but Kurosawa keeps his eyes on the bigger picture, using his narrative to explore the rot of man.

The film follows an anonymous rōnin (Toshiro Mifune) who adopts the pseudonym “Kuwabatake Sanjuro” as he stops in a small town for a drink of water and a rest. Discovering the messy political scene between Seibei (Seizaburo Kawazu) and Ushitora (Kyū Sazanka), Sanjuro quickly proves his value in the conflict by killing several of Ushitora’s henchmen. Not content to be a mere hired gun, Sanjuro pits the factions against each other in an attempt to maximize his earnings.

Mifune’s broad range beautifully illustrates the complex morality Kurosawa spends his narrative grappling with, a moving exploration of society’s worst inclinations. Sanjuro has a certain charm to him, but both Kurosawa and Mifune are careful to ensure that the audience doesn’t become too enamored by his often amusing antics. Mifune is skilled at playing the opportunistic mercenary with a degree of depth that lets the trials of his tortured soul unfold in real-time.

Kurosawa crafts a wonderful aesthetic in his town, an eeriness enhanced by the chilling score. A once quiet village buckles under the weight of greed, the gambling industry serving as an apex predator disrupting its ecosystem. The town carries the intimacy of a stage play while exuding the strength of an epic, a generation of conflict coming to a head as a result of one wandering rōnin entering the fray.

Yojimbo is the kind of narrative designed to stick with its audience for a lifetime. Both Kurosawa and Mifune put Sanjuro through the ringer, an emotional whirlwind that few could expect throughout the first act. There are points in the third act where it feels like the film is finally buckling under its exorbitant weight, and rather long 110-minute runtime, but the payoff hits its mark in a way that makes you want to rewind and start the whole thing over again.

To American viewers, Yojimbo may best be remembered as the inspiration for Sergio Leone’s A Fistful of Dollars, an unofficial remake that resulted in a successful lawsuit by Yojimbo’s production company, Toho. Both Leone and Clint Eastwood see their fine work pale in comparison to Kurosawa and Mifune’s grasp of the material, including their dark comedic take on the messy morality at hand. Yojimbo carries great appeal for fans of Westerns to see firsthand how much Kurosawa directly influenced the entire genre.

For those who think of the “man with no name” as a kind of stock character, Mifune offers strong contradicting evidence. Though we never learn Sanjuro’s real name, Mifune gives the audience a deeper sense of intimacy through his performance. Kurosawa puts forth some of his best work in this fascinating samurai narrative.

Monday

7

June 2021

0

COMMENTS

Strong performances buoy Physical through its narrative shortcomings

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The 1980s carry a certain mystique that only grows as time moves further and further on from the era. Beyond the sheer absurdity of the aerobics craze, where ridiculously slim people jazzercised in unison while decked out in thong leotards and neon leggings, lies a natural sense of intrigue to understand the zeitgeist of it all. “What the hell were they thinking,” exists not as a rhetorical question, but a legitimate point of entry for aerobics scholarship.

Apple TV+’s new series Physical follows the rise of Shelia (Rose Byrne), from misanthropic housewife to aerobics star. Stuck in a dead-end marriage with a burnout college professor Danny (Rory Scovel), Shelia initially copes with her monotonous existence by blowing off steam at ballet class, typically followed by a binge-eating & purge session of fast-food burgers in a hotel room.

It’s not until Danny decides to run for state assembly, no easy task for a socialist hippie in the Reagan-loving San Diego suburbs, that Shelia’s hotel bills start putting a strain on their already-shaky finances. Seeking a workout outlet following the closure of her ballet studio, Shelia discovers the aerobics studio run by Bunny (Della Saba) and her surfer bum boyfriend, Tyler (Lou Taylor Pucci). Needing money, Shelia quickly dominates Bunny’s orbit, occasionally also taking advantage of Greta (Dierde Friel), whose children attend the same preschool.

Byrne is mesmerizing in the lead role, her performance adding a much-needed layer of depth to Shelia’s fairly superficial personality. The first few episodes focus almost solely on Shelia, a dynamic that Byrne sells well with her cool approach to her character’s toxic home life. What works best about the early episodes is the way the show makes no apologies for its anti-hero who is severely lacking in the empathy department. Shelia is rotten in the way few women leads are ever allowed to be, making excellent television along the way.

The show does struggle with where to focus its attentions. The aerobics narrative often plays second fiddle to Danny’s campaign, an unfortunate allotment of screentime for the show’s worst character. Danny grows increasingly insufferable with the early-season addition of Jerry (Geoffrey Arend), a college buddy turned campaign manager. Though Shelia refers to Danny as the most brilliant man she’s ever met, Byrne puts no effort into selling the idea that her character ever looked at him with any degree of serious affection.

Likewise, the show hardly puts any effort into making Danny into anything resembling a sympathetic character. Shelia hides her aerobics interest from Danny, as well as the state of their dire finances, but the secrecy doesn’t really build toward any substantive narrative payoff. The show commits early on to Danny being an airheaded deadbeat, which sucks most of the air out of their slowly deteriorating relationship.

Pacing is a big problem for the second half of the ten-episode season. While the first few episodes are framed almost exclusively from Shelia’s point of view, the show gradually gives more focus to the supporting cast. Bunny and Greta see compelling storylines shortchanged at the expense of Danny. Working with limited screen time, Pucci quickly endears the audience to Tyler, an airhead with a heart of gold who works well opposite Shelia and Bunny.

More puzzling is the sudden emphasis midseason on John Breem (Paul Sparks), a real-estate developer/Republican mainstay who mostly acts as the face of Reagan conservatism in opposition to Danny’s dirtbag left aspirations. Sparks gives a predictably strong performance that’s essentially a riff on other prestige TV characters he’s played on shows like House of Cards and The Girlfriend Experience. Breem is much more compelling than Danny, but the show never really justifies why the character needed his own scenes with so much else going on.

Show creator Annie Weisman seems to struggle with how to frame Shelia’s attitude toward her family. Shelia goes from hardcore apathetic toward her husband and daughter early on, only to shift gears later on with little explanation. The show’s efforts to explore Shelia’s backstory fall a bit flat, coupled with the broader pacing problems of the second half of the season.

As a period piece, Physical is only mildly interested in exploring the politics and culture of the 1980s. There’s an early gaffe in the pilot where Danny remarks that Reagan had “just” been elected president, though the 1986 settings place the narrative 75% through his time in office. There is occasionally some interesting commentary on the nature of consumerism, but one might expect a bit more insight from a show that chose to place its political plotline at the center of the narrative.

Most disappointing is the show’s middling interest in what’s presented as its premise. Physical doesn’t have much to say about aerobics or what it is that drew people to such a seemingly absurd form of exercise. Weisman does highlight how the exercise could cater to body-obsessed people like Shelia, but the layers of spandex are hardly peeled back by the conclusion of the first season.

Byrne’s electric performance carries the show through its uneven pacing and sloppy narrative that spends way too much time highlighting the show’s worst character. Physical has the pieces of a great show. It’s beautifully shot and wonderfully acted for the most part. It is hard to shake the reality that the show that highlights a woman’s meteoric rise to aerobics fame was ill-advised to place such a heavy emphasis on the loser husband she was trying to get away from.

Wednesday

26

May 2021

0

COMMENTS

Star Trek: The Next Generation – “Yesterday’s Enterprise”

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We are back on the Enterprise-D, and also the Enterprise-C. Tasha Yar faced a tragically silly death in “Skin of Evil,” marvelously analyzed on this humble podcast. Natty Strange is back to help us assess the return of everyone’s favorite lesbian chief of security and her weird relationship with Shooter McGavin. 

 

You can follow Nat on Twitter @nuns_on_film. Be sure to check out her new Star Trek blog, deepspacenat.com and her new Twitch channel

You can follow Pokey the Penguin’s latest adventures by checking out Pokey’s website https://www.yellow5.com/pokey/ & @pokeythepenguin

Tuesday

25

May 2021

0

COMMENTS

Classic Film: Death in Venice

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Film does not require one to separate sinner from saint in order to follow a narrative. The Gustav von Aschenbach in Luchino Visconti’s Death in Venice is a washed-up pedophile who takes a vacation to stave off the rapid decay of his pathetic existence. Instead of basking in the luscious scenery that the magnificent city has to offer, Aschenbach instead squarely focuses his attentions on a young Polish boy named Tadzio.

One might think to call Visconti’s work a game of cat and mouse between Aschenbach and Tadzio. The iconic director essentially sets up that sort of dynamic with his lead actors, the veteran Dirk Bogarde, and the young Björn Andresen, in a career defining-role. The trouble with the narrative is that it doesn’t really exist as anything more than set-up, a runtime of 130 minutes that never seems all that interested in moving the ball forward.

The gorgeous cinematography gives the eyes plenty to gaze at throughout the narrative. To some extent, Visconti doesn’t deserve that much credit for being able to eloquently paint visual portraits of one of the most beautiful cities in the world, hardly the most challenging task. 1971 Venice is an easy marvel, almost enough to keep the mind occupied during Visconti’s anemic story.

Visconti reduces Aschenbach to a shell of the character brought to life in Thomas Mann’s source material. Bogarde does an admirable job in a lead role that gives him practically nothing to do besides stalk the boy over and over for two hours. While Mann sent Aschenbach to Venice to revitalize his career, Visconti essentially sends him there to die, a failed conductor licking the wounds of a disastrous performance.

The real crime of Death in Venice is the way Visconti abandons any sense of drive for Aschenbach beyond his base-level perversions. Though Aschenbach and Tadzio never speak to each other, Andresen responds to Bogarde’s infatuations more than enough times to qualify as communication. Visconti takes the narrative to an uncomfortable sexual level while never being terribly interested in dealing with the ramifications.

On some level, Death in Venice plays like an inside joke for Visconti to fool around with homosexual themes at a time when doing so more blatantly would have crossed obscenity lines in plenty of countries. The director takes a beautiful city and well-respected source material, only to reduce everything to the same single note that he hammers home again and again. The audience is left on its own to bend the fragments of narrative into something resembling meaning.

Visconti understands the beauty of Venice. His inability, or unwillingness, to engage with Mann’s work is a barrier that sinks Death in Venice. The legacy of the film is largely defined by Visconti’s exploitation of Andresen’s body in service to nothing in particular. It’s hard to look at the result as anything other than a tragic, beautiful, mess. There’s not enough here to sustain a two-hour narrative, a bizarre misfire considering the substantive source material.

Wednesday

12

May 2021

0

COMMENTS

Jupiter’s Legacy w/ co-DP Nicole Hirsch Whitaker

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We are delighted to welcome Nicole Hirsch Whitaker to the show to talk about her work as co-director of photography for the new Netflix series Jupiter’s Legacy. Nicole shares plenty of insights from behind the scenes and the way she worked to shape the show’s unique aesthetic in the crowded superhero landscape. Ian & Nicole also talk about the challenges of framing a series with a giant spoiler that fans of the comic book will know all too well.

 

Nicole_Whitaker_head_shot6hevq.jpg

 

Jupiter’s Legacy is currently streaming on Netflix.

 

Headshot courtesy of Nicole Hirsch Whitaker. Series poster courtesy of Netflix.