Ian Thomas Malone

Saturday

31

October 2020

0

COMMENTS

Mandalorian Season 2 Recap (Episode 1)

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Baby Yoda show is back! Join host ITM for an exciting recap of The Mandalorian’s second season premiere, full of Tusken Raiders, Deadwood, and the return of fan favorite R5-D4.

Is Boba Fett going to be pissed that Raylan Givens borrowed his duds? Did Baby Yoda get enough blue milk? Do Krayt dragons dream of electric sandworms? Make yourself a nice bowl of spice melange and tune in to find out! 

Ian’s episode one review: https://ianthomasmalone.com/2020/10/the-mandalorian-season-two-review-chapter-9/

Tuesday

27

October 2020

1

COMMENTS

No Ordinary Man captures the complexities of transgender history

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There are a lot of public misconceptions about transgender history, even its very existence. The mainstream media often portrays the transgender identity as some kind of new concept, neglecting centuries of record evidence of gender variance among countless countries. This willful ignorance has come at a great cost to the trans community as a whole, breeding unnecessary isolation and unawareness of our broader surroundings.

The documentary No Ordinary Man centers its narrative on one of the most fascinating figures in trans history. Billy Tipton was a jazz musician and talent agent who had a successful career for decades in the South throughout the fifties and sixties. Billy was a transgender man, a fact unbeknownst to his world until his death, when a heart attack revealed his secret to paramedics and his adoptive son. A national media firestorm ensued, with tabloid coverage shining an ugly spotlight on Billy’s body and details of his life that most of us, cisgender or otherwise, would prefer to keep private.

Co-directors Aisling Chin-Yee and Chase Joynt do a fabulous job presenting the complexities of Tipton’s life on screen. Billy Tipton essentially exists as two separate entities, the real-life father, husband, and musician, but also as a figure of inspiration for the broader LGBTQ community. We know very little about the specifics of Billy’s gender identity, but Chin-Yee and Joynt understand the importance of showcasing the impact that his life has had on our community.

Interviews with Billy Tipton Jr. serve as a grounding force for the film, crafting a portrait of an icon’s quieter life before he was posthumously outed without his consent. For too long, LGBTQ people have often been forced to live two separate lives, one for their blood families and one for their found families. Advances in LGBTQ equality have helped create a world where that kind of double life isn’t necessary for many, but the film eloquently explains the world that Billy lived in.

Chin-Yee, Joynt, and co-writer Amos Mac spend a great deal of focus on the media landscape that sensationalized Billy’s life after his death, identifying the broader systemic issues that plague our community to this day. The media often, if not usually, treats transgender issues as tantalizing, fantastical scenarios, ignoring the real-life trans people affecting by these methods of framing.

The biggest challenge for a film like No Ordinary Man is the elusive life of its subject. There’s no footage of Billy and only a few photographs, the kind of visual obscurity that hardly lends itself well to feature-length documentaries. To make up for Tipton’s visual absence, Chin-Yee and Joynt deploy an unusual strategy, holding auditions for a film about Tipton’s life. Using trans actors as stand-ins for Tipton works quite well, an effective indicator of the progress society has made since Billy’s time. The world is still a very imperfect place for trans people, but there still remains great power in the sheer nature of visibility.

No Ordinary Man is a beautiful tribute to an icon of trans lore and a damning indictment on the shameful media coverage after his death. Billy Tipton deserved better from this world, both in life and in memory. As transgender people reach new levels of visibility, it’s important not to forget the ways in which we’ve lacked agency over our own stories. History must be told for true change to take hold.

No Ordinary Man was recently featured at AFI Fest and will be part of DOC NYC’s lineup. DOC NYC will take place from November 11th-19th. Tickets can be purchased here.

Monday

19

October 2020

0

COMMENTS

Vote Joe Biden & 2020 Senate Analysis

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Looking at you, unenthusiastic voters. Joe Biden is not a great candidate. This “decent” man has decades worth of indecent votes to his name, a shameful legacy that we shouldn’t have to revisit in 2020. Alas, here we are.

Trump is infinitely worse. It’s not even close. LGBTQ rights, reproductive rights, healthcare, and the very future of our nation is at stake. Voting doesn’t need to be fun, but you need to vote. Trump may never end if we don’t put a stop to this American Carnage. 

Ian also dives into the state of the 2020 Senate race and why it’s way closer than the mainstream media thinks. Please, please, please vote. We can’t pack the courts without senators who will do the packing. 

Fuck Trump. Vote Biden. 

Wednesday

14

October 2020

0

COMMENTS

The Vow peels back the murky, deeply unsettling world of NXIVM

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Everything about NXIVM and its “vanguard” Keith Raniere screams “cult.” From the bizarre sashes, to the late-night volleyball games, to the endless money-suck of classes for their “Executive Success Programs,” the red flags seem pretty damn obvious to any reasonable outsider. Over the course of nine episodes, HBO’s docuseries The Vow peels back the layers to explain how this con took hold of so many lives over the course of nearly twenty years.

NXIVM (pronounced “nex-e-um”) is a complex organization, a notion perhaps best represented by its confusing name. Its surface level operations focus on courses in the vein of “awareness training,” the kind of stuff that appeals to those who fuel the billion-dollar self-help industry. For those seeking community, NXIVM functioned in essentially the same role as a church. Deep beneath NXIVM’s surface are its subgroups, including DOS, which blackmailed and branded women, the primary driver that led to Raniere’s 2017 arrest.

The Vow succinctly explains the “how” and the “why” behind NXIVM’s success, an organization largely bankrolled by Seagram’s heiresses Sara and Clare Bronfman. Dissenters were frequently met with various legal threats, providing extensive cover for Raniere’s various cons. As loathsome as Raniere appears, a scraggly looking figure whose sense of style doesn’t appear to evolved past his freshman year of college, it is easy to see the appeal of his snake oil strategy to unsuspecting souls.

Directors Karim Amer and Jehane Noujam do an excellent job balancing the many pieces of NXIVM. The “sex cult” allegations are by far the most salacious and interesting to see on screen, but the saga of this Albany clique with outposts in Mexico and Canada goes far deeper than that. It is perhaps impossible to calculate the damage caused by NXIVM, from the financial ruin to the emotional turmoil. The series paints with a broad brush, translating the complex theories in an easily digestible manner.

Perhaps unsurprisingly, The Vow draws its protagonists from the crop of people involved in the film industry who were lured into NXIVM’s orbit. Former members Mark Vicente, a filmmaker, and Sarah Edmondson, an actress, provide invaluable first-person perspectives. Amer and Noujam center much of their narrative on Catherine Oxenberg of Dynasty fame, whose daughter India was deeply involved in DOS right up to Raniere’s arrest.

Part of what makes The Vow so compelling is its use of extensive archival footage from NXIVM’s history, much of it shot by Vicente before he turned on the group. Raniere’s obsession with recording his entire existence backfired in this regard, allowing him to be featured extensively without the agency of his own intentions. One gets the impression that the mere existence of the series must be driving Raniere insane as he currently awaits sentencing after guilty verdicts on multiple charges.

The participation of Vicente and Edmondson, the latter of whom ran the Vancouver branch and describes herself as a former top “earner” within NXIVM, creates an interesting moral quandary that the filmmakers approach with delicate hands. Occupying leadership positions for so long within the company produces a natural sense of responsibility. It is fair to wonder just how guilty either are, an issue that The Vow nuzzles up toward without ever really confronting head on.

Maybe it didn’t need to. Largely shot before Raniere’s arrest in 2017, it is fair to acknowledge the lack of distance between the subjects and their traumatizing events. The series takes a hands-off approach as Vicente grapples with his own guilt, a moving display of emotion that communicates the sense that this is something he’ll never truly recover from.

The same holds true for Edmondson, branded for life with this initials of Raniere and Smallville actress Allison Mack. How much of her victimhood is negated by her leadership role, which encouraged countless people to spend their life-savings on junk courses taught by sexual predators? The Vow has no idea how to gauge this question, perhaps only faltering a bit in choosing to celebrate its leads as heroes. There are no easy answers here. It’s tempting to write off chunks as PR reclamation projects, but perhaps that action isn’t wholly unwarranted either.

Nobody sets out to join a cult, a notion presented many times over the course of the series. The Vow provides an illuminating front row seat to the unimaginable, navigating the murky waters of a cult with dignity toward its subjects. Maybe there aren’t any real heroes here besides Oxenberg, who’s quest to save her daughter provides The Vow’s most emotionally rewarding journey.

Several subjects point out that there was good in NXIVM, even in its monster of a founder. One should not be faulted for not wishing to bother thinking about whether or not Raniere did any good in his life. The sum of his existence will always lie in the red. For the rest, redemption is a long road, one started by the actions displayed in the series. It is important to believe in redemption, the kind of saving grace that affords good people an opportunity for another chapter.

There is tremendous value in hearing Vicente and Edmondson’s story, even if you remain a bit unsure what to think of them after the dust starts to settle. The recent nature of the whole NXIVM saga suggests the story is far from over. For now, The Vow encourages its audience to see the complexity in the humanity presented on screen.

The entire nine-episode series was screened for review.

Monday

5

October 2020

0

COMMENTS

Statement on FOX LA’s Anti-Transgender Conduct

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Over the past weekend, I broke the story that a Trump campaign flag was flying at the Long Beach City Police headquarters. The news was picked up by practically every major local outlet, including affiliates for NBC, CBS, ABC, and Fox, as well as the LA Times and the LAist. I appeared on camera for the NBC4 Nightly News and FOX 11 LA.

FOX LA reporter Rick Lozano filmed me and my partner outside the Long Beach Police Department for about half hour for the news clip, repeatedly violating basic social distance guidelines as he pressured me to AirDrop photos that I’d already agreed to text from a safe distance.

More egregiously, Rick repeatedly misgendered me on air, even after identifying me as a transgender woman. Rick also repeatedly referred to me as “Thomas Malone,” even as a news chyron listed me correctly.

https://twitter.com/ianthomasmalone/status/1312930937299062784?s=20

As a post-operative transsexual with two male names, I know the unique challenges that my situation presents. Whenever I do press, I repeatedly make this clarification known to prevent such cringey scenarios. Rick Lozano knew my pronouns. He deliberately chose to ignore them.

The news desk for FOX LA promptly hung up when I called to speak to a producer about this situation. I am calling for an apology from FOX LA and for disciplinary action to be taken against Rick Lozano.

Ian Thomas Malone (she/her)

Thursday

24

September 2020

1

COMMENTS

Dead is a hilarious buddy cop comedy with a ton of heart

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The stoner comedy genre has taken a bit of a hit in the wake of marijuana’s broader mainstream acceptance. Gradually shedding its counter-cultural image, humor from such endeavors must rely less on shock value. The New Zealand-based comedy/horror film Dead puts forth a strong effort that subverts all genre expectations.

Dane “Marbles” Marbeck (Thomas Sainsbury) is a bit of a hapless stoner who concocts a potion made from pot and his late father’s neurological medication that allows him to see ghosts. One ghost, Tagg (Hayden J. Weal), a police officer who was recently murdered while pursuing a serial killer, presents Marbles with an opportunity to put his gifts to use. In exchange for helping him solve the case, Tagg offers Marbles his life insurance payout in order to buy his family farm from his mother (Jennifer Ward-Lealand).

Sainsbury and Weal, who also co-authored the screenplay, are quite compelling in the lead roles. There’s a depth to Marbles that elevates the character beyond the many stock personality types that can be found in the genre. He’s not just a sad dope, but a kind person with a sense of personal drive that’s easy to get behind. Also juggling director duties, Weal constantly challenges his audience with emotionally resonant material that’s quite funny without ever feeling like it’s playing for laughs.

A scene early on between Marbles and his father Ross (Michael Hurst) comes out of nowhere with its heartfelt sincerity, hardly the kind of approach common in a buddy cop stoner film. Weal packs quite a lot of character development in for Marbles and Tagg, giving their relationship a journey that feels unconstrained by the limits of a ninety-minute runtime. The pacing is superb.

Dead tackles LGBTQ issues quite well in an interesting dynamic. Sainsbury, openly gay, plays the straight Marbles while Weal, openly heterosexual, plays the openly gay Tagg. Tagg’s gayness is integral to the narrative, but the film takes an inclusive approach to its humor. It’s rather refreshing to watch a film where the LGBTQ community actually feels in on the jokes.

The New Zealand landscape is absolutely beautiful. Much of Dead is filmed outdoors, giving global audiences a chance to experience the country, particularly valuable in the midst of a pandemic. While clearly not a big budget endeavor, the strong production values and first-rate cast more than make the case for the film.

Dead is in Select Theaters and Virtual Cinemas on 9/25 and on Digital on 10/6

Thursday

24

September 2020

0

COMMENTS

Michael Hurst

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We are delighted to welcome Michael Hurst to the show for a wide-ranging discussion of his illustrious career. Michael is best remembered for playing Iolaus on Hercules: The Legendary Journey’s & Xena: Warrior Princess, and for his directorial work on shows like Spartacus and Ash vs. Evil Dead. Ian & Michael talk at length about the influence that Hercules has had on the fantasy genre, opening the door for dozens of shows that followed.

Michael recently appeared in the New Zealand production Dead, a hilarious and tender buddy cop comedy. Dead premieres on virtual cinemas on September 25th, with a VOD release on October 6th. Full of LGBTQ themes and making great use of the beautiful New Zealand landscape, Dead is a perfect choice for pandemic viewing.

Ian’s review of Dead: https://ianthomasmalone.com/2020/09/dead-is-a-hilarious-buddy-cop-comedy-with-a-ton-of-heart/

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Headshot courtesy of Michael Hurst. Film poster courtesy of 1091 Pictures.

Tuesday

15

September 2020

0

COMMENTS

Blackbird can’t overcome its sloppy filmmaking and lackluster screenplay

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The right to die is sadly still a controversial issue in much of the world. For many terminally ill people, the idea of going out on your own terms is far better than the alternative, a few extra weeks spent practically comatose hooked up to all sorts of machines. Agency is not a concept that should be removed from this equation.

Blackbird handles the subject of agency quite well. Lily (Susan Sarandon) chooses to end her life on a specific day, after a long battle with ALS. She and her husband Paul (Sam Neill), invite their family for one last weekend together before Paul delivers a concoction designed to bring her suffering to an end. With a stacked supporting cast that includes Kate Winslet, Mia Wasikowska, and Rainn Wilson, you’d expect the film to tackle the subject matter with the level of grace that it deserves.

Unfortunately, Blackbird is a mess almost straight from the get-go. Director Roger Michell crafts the film like a stage play, using extensive wide shots in the majority of the film’s first half. The camera often remains fixed for full scenes, showcasing rooms of the house essentially from the perspective of a security camera. There’s some initial novelty in the idea of making the audience feel like a wallflower, but the whole approach is clunky and distracting.

Despite the talent involved, Michell essentially kneecaps his cast by restricting the audience’s access to them. You can hear the words coming out of the characters’ mouths, but often you can’t see their expressions. If he truly wanted to mirror the stage, he made the rather puzzling decision to place the audience in the back row.

Worst of all, Michell conveys the wrong message with his stagnant camera. There’s a scene between Wasikowska and Winslet early on where they’re preparing a guest room. The conversation is to some degree meant to take a back seat to their actions, possibly a commentary on mundane chores in the face of imminent tragedy. Instead, the whole sequence leaves you envious of the characters, lost in something other than this boring mess.

What makes this whole dynamic even more confusing is that Michell essentially abandons this approach halfway through. Ensemble scenes in the back half feature plenty of close-ups. It’s as if he realized that the early scenes weren’t working and decided to call an audible, without going back to fix his mistakes.

Blackbird does an absolutely terrible job of conveying the severity of Lily’s illness. There is talk of her not being able to move her right hand, though she’s shown several times to have mobility, occasionally when Sarandon’s left arm is the one left still. Anyone familiar with ALS might find that this portrayal leaves quite a lot to be desired. A scene meant to convey her illness features Lily dropping a wine glass, except the whole setup is pretty outlandish.

Lily is shown sitting in a chair eating a piece of cake off a plate on her lap, with no side table in sight. It would seem practically impossible for anyone, terminally ill or not, to eat the cake while holding a wine glass. The audience is supposed to take this moment as a sign that she should be put out of her misery, but it’s so lazy and careless that the whole sequence earns little more than an eye-roll.

The screenplay is very bad. Early on, some of the awkward small talk seems designed to capture the spirit of the moment. As the narrative meanders along, it’s clear that the mediocrity wasn’t intentional. The sloppiness grows tiresome after a while. There’s a sequence where Winslet’s Jennifer asks for gin, only to be immediately handed a glass of wine. Some of this stuff could be forgiven, errors are a part of film, but sloppiness seems to define Michell’s approach to Blackbird.

The bad writing and directing puts a burden on the actors that none of them seem particularly eager to carry. Neill and Wilson in particular look bored out of their minds, phoning in their performances. Sarandon, Wasikowska and Winslet fair a bit better, though the material doesn’t give them much to work with.

Overburdened by a terrible screenplay and sloppy filmmaking, Blackbird makes a mess out of its sensitive material. People deserve to die with dignity, a surprisingly controversial issue in this modern age. Unfortunately, this film is not a good messenger.

Wednesday

9

September 2020

0

COMMENTS

Mulan is a step in the right direction for Disney’s live action remakes

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Disney has an identity problem when it comes to their live-action slate. Efforts like The Lion King and Aladdin are too tethered to their source material to craft their own voices. Others such as Dumbo fall apart in the absence of any clear sense of purpose. Mulan removes the talking animals and musical numbers from the equation, plotting its own course through the ancient Chinese folklore.

Armed with a $200 million budget, a record-setting sum for a female director, Niki Caro crafts a visually breathtaking experience. The New Zealand landscape is beautiful, if not a bit distracting for a film set in China. CGI can bring practically any concept to life, but other Disney efforts have suffered from an over-reliance on green screens.

Mulan is competently acted, though it’s hard to say that any particular talent steals the show. Yifei Liu brings grace and a sense of determination to the title role, but she’s a bit too reserved. The absence of a confidant figure such as Mushu who is in on the ruse puts some strain on Liu’s ability to express the struggle at the core of the narrative.

Unlike it’s animated predecessor, Mulan puts its supernatural elements at the heart of the conflict. Mulan is basically turned into a superhero, exhibiting “chosen one”-type powers that diminish the feminist message that the film is trying to convey. Here, women can do anything, if one has special powers to dodge arrows and transform into animals.

The screenplay is pretty lackluster. While following the same basic trajectory of the source material, swapping out the Huns for Rouran warriors, the film never quite finds its heart. Mulan never really clicks with her fellow warriors, a fairly forgettable bunch who never receive much attention.

Caro largely keeps romance out of the equation, a refreshing dynamic for a Disney film. Mulan’s journey is one of the self, determined by her own actions rather than gauged in relation to the feelings of a man. It might have been interesting to see how the film addressed plotlines from the original in a world with larger LGBTQ equality, but Disney has demonstrated no grace in this area anyway.

Mulan is a flawed movie. The action sequences help buoy the film through its less compelling sequences. The brief attempts at humor do little than serve as reminders of how much heart Eddie Murphy brought to the original. With that in mind, it’s easier to forgive the lack of comedy. It seems absurd to think that a live-action effort could have ever surpassed its predecessor in this regard.

With Mulan, Disney shoots for more than a shot-for-shot remake of the past. The result is a little clunky at times, but compelling enough to justify its existence. Skeptics of Disney’s live-action genre may not be completely convinced, but Caro brings something fresh to the conversation. It is an entertaining film. That might not feel like high praise, but it’s a step in the right direction.

Friday

28

August 2020

0

COMMENTS

#Unfit: The Psychology of Donald Trump is too unfocused, light on expert analysis

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The idea that Donald Trump has a mental disorder is nothing new. Five minutes spent watching him speak could give any reasonable person that impression. #Unfit: The Psychology of Donald Trump seeks to provide substance and depth to the claims about the state of our president’s fitness for office. For the first half hour or so, it succeeds on this front.

Director Dan Partland assembled an array of doctors and psychology experts who eloquently present the case for Trump’s malignant narcissism. Equally important, the doctors describe why these disorders pose a grave threat from the Oval Office. Politicians are often egomaniacs by nature, but the film effectively presents a case for why Trump is a unique threat to democracy.

There are many who disagree with the basic premise of the film, the idea that anyone could diagnose the president from his behavior on television. Such an endeavor falls into the very wheelhouse of armchair psychology. Partland examines the “Goldwater Rule,” that established the precedent against diagnosing public figures, while explaining how Trump exists apart from all of these norms. The deep dive is fascinating.

Trouble is, Partland does away with the psychology aspect of the narrative fairly early on, an odd dynamic considering the title of the film. Thirty minutes in, the film mostly trades its compelling psychology analysis in for a tired retread of the 2016 election featuring a collection of cable news pundits. Anthony Scaramucci, White House Communications Director for a mere eleven days and former Celebrity Big Brother contestant, pops in to share some perspectives as to why Trump won that bring nothing new to the table.

Similar interviews with MSNBC stalwarts such as Malcolm Nance, Richard Painter, and Bill Kristol repeat the same talking points they use on TV. Trump has upended every rule of Washington. We all know this. Painter and Kristol have nothing to offer as to the psychology of Donald Trump. So why are they here?

Many people have legitimate anxieties over Trump possessing the nuclear launch codes. It’s scary to think about. #Unfit spends a fair bit of time on this subject, without really presenting anything new. It is not particularly hard to explain why Trump shouldn’t be allowed to order nuclear strikes.

Partland is clearly positioning his film as a call to arms, encouraging people to vote Trump out of office with a film released in the home stretch of the 2020 election. #Unfit steps on its messaging by allowing people like Scaramucci time to defend Trump supporters from charges of racism, even as the film shows examples of broad racism at Trump rallies. None of this has anything to do with psychology.

#Unfit squanders its interesting premise by spending too much of its runtime on things that are totally unrelated to its thesis. As a persuasive piece, Partland robs his work of its impact by bloating its message. There could be some value in showing an undecided voter the first twenty minutes of this film. The subsequent hour undoes any of that good will.