Culture Representation: Taking place mostly in 2016 and 2017, primarily in New York City (and briefly in California, the United Kingdom, Ireland, and Italy), the dramatic film “She Said” (based on real events) features a predominantly white cast of characters (with a few African Americans and Asians) representing the working-class, middle-class and wealthy.
Culture Clash: New York Times reporters Jodi Kantor and Megan Twohey investigate sexual abuse allegations against entertainment mogul Harvey Weinstein and help usher in a new era in the #MeToo movement.
Culture Audience: “She Said” will appeal primarily to people who are interested in watching well-acted historical dramas about investigative journalism and seeking justice for crimes.
Wesley Holloway, Jennifer Ehle and Justine Colan in “She Said” (Photo by JoJo Whilden/Universal Pictures)
With the tone and pace of a procedural crime drama, “She Said” uncovers nothing new about The New York Times’ 2017 report that helped spur the downfall of Harvey Weinstein, who went from being a powerful mogul in the entertainment industry to becoming an imprisoned, convicted rapist. However, the movie’s top-notch cast members (including a terrific Samantha Morton in a standout supporting role) deliver better-than-average performances in this important story that needs to be told. It’s a very female-driven movie that puts the narrative where it belongs: on Weinstein’s abuse survivors who had the courage to speak to The New York Times for this groundbreaking report, as well as the two women who investigated and wrote this report.
Directed by Maria Schrader and written by Rebecca Lenkiewicz, “She Said” is adapted from the 2019 non-fiction book “She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement,” written by Jodi Kantor and Megan Twohey, the two New York Times reporters who investigated and wrote the report that exposed accusations against Weinstein for crimes and misdeeds against women, spanning several decades as far back as the 1980s. The report, which was published in October 2017, included detailed accounts of sexual harassment and/or sexual assault alleged by a variety of women, including some of Weinstein’s former employees, famous actresses (such as Gwyneth Paltrow and Ashley Judd) and various other colleagues. “She Said” had its world premiere at the 2022 New York Film Festival in New York City.
“She Said” opens with a flashback to 1992. In this scene, a 21-year-old female production assistant is on a film set in Ireland. She comes across as an eager and friendly employee who’s happy to be at her job and enjoys being around her co-workers. The movie then abruptly shifts to showing her running in fear on a city street, as if she’s just experienced something terrifying.
It’s at this point you know that this woman has become one of Weinstein’s sexual abuse victims. In 1992, Weinstein (who co-founded Miramax Films and later The Weinstein Company) was on the rise in the industry as a movie producer and studio chief. He would eventually win an Academy Award for Best Picture, for 1998’s “Shakespeare in Love.”
Later on in “She Said,” which takes place mostly in 2016 and 2017, viewers find out that this frightened young woman’s name is Zelda Perkins. And 25 years after her horrifying experience with Weinstein left her with deep trauma and disillusionment about the entertainment industry, Zelda (played by Morton) is ready to tell her story to The New York Times. It’s by far the best scene in the movie. She declares, “This is bigger than Weinstein. This is about the system protecting abusers.”
“She Said” goes step-by-step in showing how Jodi Kantor (played by Zoe Kazan) and Megan Twohey (played by Carey Mulligan) ended up working together on this landmark investigation which helped bring a surge to the #MeToo movement and garnered a Pulitzer Prize for Kantor and Twohey. (For the purpose of this review, the movie characters will be referred to by their first names, while the real-life people will be referred to by their last names.) Someone who is briefly mentioned (but never shown) in the movie is investigative journalist Ronan Farrow, who also won a Pultizer Prize for his own Weinstein exposé that The New Yorker published a day after The New York Times’ report. “She Said” portrays Farrow’s report as something that Jodi and Megan were aware was happening simultaneously, but Farrow’s competing report did not distract Jodi and Megan from their own investigation.
Jodi’s and Megan’s respective personal lives are shown tangentially for context reasons, in order to give viewers an idea of how this investigation affected their lives outside of their jobs. Jodi and Megan both have loving, supportive husbands (Jodi’s journalist husband Ron Lieber is played by Adam Shapiro; Megan’s literary-agent husband Vadim “Jim” Rutman is played by Tom Pelphrey), but the women are at different stages in their lives when it comes to motherhood.
At the beginning of the investigation, Jodi had two daughters under the age of 12, while Megan was a mother of a newborn child. (Elle Graham has the role of Jodi and Ron’s older daughter Gracie, while Maren Heary has the role of younger daughter Nell.) Their struggles with post-partum depression are mentioned in the movie when Megan confides in Jodi about having post-partum depression, and Jodi reveals that she had this type of depression too.
“She Said” also shows that while Jodi was enthusiastic about pursuing the investigation from the beginning, Megan was more skeptical and reluctant, because many of their sources refused to go on the record, usually because they signed non-disclosure agreements with Weinstein in exchange for a monetary settlement, and/or the accusers feared retaliation. The movie takes on sinister qualities when it shows that Megan and Jodi (and some of their sources) were stalked and threatened by unidentified men who were believed to have been hired by Weinstein.
Slowly but surely, through in-person visits to interview many of the survivors in person, Jodi and Megan begin to get a growing number of women who were willing to go on the record. Judd portrays herself in the scenes where she interacts with Megan and Jodi. In real life and in the movie, Judd tells her story about how Weinstein had her blackballed from getting jobs after she rejected his sexual advances.
Two other key witnesses come forward to help with the investigation: former Weinstein employees Rowena Chiu (played by Angela Yeoh) and Laura Madden (played by Jennifer Ehle), a mother of two underage children, who was also dealing with the recent news that she would have to get a mastectomy due to her breast cancer. (Justine Colan has the role of Laura’s daughter Iris, while Wesley Holloway has the role of Laura’s son Hywel.) Yeoh and Ehle both make an impact with their admirable performances.
Jodi, the more emotionally sensitive reporter of the duo, is described by Megan at one point in the movie as “less intimidating” than Megan because Jodi is shorter and looks more approachable. There’s a well-performed scene where Jodi makes a big mistake in revealing some information to Rowena’s husband that could derail a possible interview with Rowena. Jodi is distraught by this mistake, in a powerful scene that shows the human fallibility that can happen in investigative journalism.
Megan considers herself to be a more seasoned and more jaded reporter than Jodi. Megan doesn’t like to show emotional vulnerability, but she goes through more of an emotional rollercoaster due to her post-partum depression, which she tries to hide from her colleagues, in order not to be perceived as “weak” or “incompetent.” It’s an issue that many mothers in the workforce go through in real life, and it’s handled with tasteful respect in “She Said,” with Mulligan giving a nuanced performance.
The movie also depicts some of the rejections that Jodi and Megan received from potential sources who ultimately were too afraid or uninterested in going on the record with The New York Times. And the movie also depicts some of Weinstein’s enablers, including attorney Lisa Bloom (played by Anastasia Barzee), who tarnished her feminist image when she was hired to be a paid consultant to do damage control for Weinstein. Bloom also had a book deal with Weinstein. John Schmidt (played John Mazurek), who worked for Weinstein as a chief financial officer, and attorney Lanny Davis (played by Peter Friedman), who used to be one of Weinstein’s consultants, are shown having guilt-ridden reckonings when they are confronted by Megan and Jodi about their active participation in covering up Weinstein’s abuses.
The New York Times is portrayed as approaching this story meticulously, with supportive editors who demanded a high level of accountability and evidence before publishing the report. Patricia Clarkson has a generic role as New York Times assistant managing editor Rebecca Corbett. Andre Braugher has the flashier supervisor role as New York Times managing editor Dean Baquet, who has some of the best scenes in the movie in showing how he’s not intimidated by a bully like Weinstein.
As for any portrayal of Weinstein, “She Said” wisely relegates him to just being mostly a voice, with a brief glimpses of an actor (Mike Houston) portraying Weinstein on screen, such as when he walks in a public area with members of his team. There’s a scene where Weinstein threatens Dean with legal action against The New York Times because of the investigation that he knows will expose dark secrets. In response, Dean tells Weinstein that if he wants to make any statements on the record, Weinstein needs to talk directly to Jodi and Megan.
“She Said” also includes the 2015 real-life audio recording of Weinstein trying and failing to coerce actress/model Ambra Battilana Gutierrez into his hotel suite, a day after she says he sexually groped her without her consent. She reported this crime to the New York Police Department, which investigated Weinstein for that incident at the time, but no charges were filed against him. It’s an example of how not all of Weinstein’s accusers waited years to come forward to report Weinstein’s alleged sexual misconduct against them. The movie shows in no uncertain terms that those who did go public before 2017 were silenced or ignored.
Also getting a “voice only” depiction in “She Said” is actress/activist Rose McGowan (voiced by Keilly McQuail), who is shown declining to be interviewed by The New York Times about her accusation that Weinstein raped her, because she says she felt mistreated by The New York Times in the past. In real life, McGowan would go on the record with Farrow for his coverage for The New Yorker. “She Said” also has a scene of Megan and Jodi going to Paltrow’s California home to interview this Oscar-winning “Shakespeare in Love” actress, but Paltrow is also just a phone voice in the movie. (Near the beginning of the movie, there’s also voice cameo from an actor portraying Donald Trump, who calls Megan in 2016, during his presidential campaign, to tell her that she’s a “disgusting human being” for reporting sexual harassment allegations against Trump.)
Early on in “She Said,” the movie acknlowedges that Weinstein’s downfall happened after the April 2017 downfall of former Fox News talk show host Bill O’Reilly over sexual harassment allegations. Sarah Anne Masse, who is one of Weinstein’s real-life accusers (she claims he sexually harassed her in a job interview), has a cameo role as New York Times reporter Emily Steel, who helped break the story about O’Reilly’s alleged sexual misconduct. Steel and Michael S. Schmidt co-wrote the New York Times report that exposed how News Corp. (the parent company of Fox News) paid at least $13 million to settle sexual-harassment complaints made against O’Reilly, who was eventually fired from Fox News when advertisers boycotted his show. (That settlement total is now estimated to be at least $32 million.)
“She Said” might get some comparisons to the Oscar-winning 2015 drama “Spotlight,” which was about the Boston Globe’s 2001-2002 investigation of the Catholic Church covering up priests’ sexual abuse for decades. In real life, that Boston Globe report also won a Pulitzer Prize, but “Spotlight” was very much about a male-majority team of journalists (with one token woman) doing the investigating. “She Said” is much more streamlined, because there is only one main sexual abuser being investigated, although the movie does hammer home the point many times that Weinstein was aided by a system that allowed him to get away with his crimes for years.
None of this information is surprising to anyone who followed the Weinstein scandal and the aftermath of what was reported in The New York Times and The New Yorker. There have been countless news reports and some documentaries of the same subject matter. What will resonate with viewers the most in “She Said” is exactly what the title of the movie promises: Instead of making the villain the center of the story (which true-crime movies tend to do), “She Said” is all about celebrating the bravery and fortitude of the women survivors who came forward to tell their truths, and the people who helped bring some measure of justice to stop Weinstein’s reign of terror.
Universal Pictures will release “She Said” in U.S. cinemas on November 18, 2022.
Culture Mix was on the scene at the 2022 edition of the fan convention New York Comic Con, held October 6 to October 9 at the Jacob K. Javits Convention Center in New York City. Here are some of the highlights.
“Star Trek” Universe
Sonequa Martin-Green in “Star Trek: Discovery” (Photo courtesy of CBS Studios/Paramount+)
On October 8, the “Star Trek” Universe panel (for the current “Star Trek” shows on Paramount+) was one of the most highly anticipated panels at New York Comic Con, because it revealed a few new trailers and confirmed what fans have been requesting for years: a reunion of the “Star Trek: Next Generation” cast.
“Star Trek: Next Generation” fan faves LeVar Burton and Michael Dorn were among the former “Star Trek: The Next Generation” cast members (along with Jonathan Frakes, Marina Sirtis, Gates McFadden, and Brent Spiner) who joined star Patrick Stewart to announce that they will all be reunited in the third and final season of “Star Trek: Picard.” Former “Star Trek: The Next Generation” co-star Daniel Davis (who was not at the panel) will also be part of this reunion. In Season 3 of “Star Trek: Picard” (premiering on February 16, 2023), the heroes will contend with a new villain named Vadic (played by Amanda Plummer), an alien captain of the warship Shrike. Beyond that, the cast members kept saying on the panel that they couldn’t reveal any spoiler details, although some tidbits of new information were discussed.
Burton said that his “Star Trek” character Geordi La Forge is now “happily married with two daughters.” Elder daughter Sidney La Forge (played by Ashlei Sharpe Chestnut) is an ensign and helmsman of the U.S.S. Titan. Younger daughter Alandra La Forge (played by Mica Burton, LeVar’s real-life daughter) is an ensign who works alongside Geordi. LeVar pointed out Mica in the audience, who enthusiastically cheered for her. LeVar said of daughter Mica being part of this cast reunion: “She grew up around all of these fine folks, so to have her as a member of the cast and a member of the family is pretty cool.”
Dorn, who’s played the character of Worf in several “Star Trek” TV shows and movies, said of the journey that Worf will take in this reunion: “I was very fortunate that the producers incorporated our ideas of where he’s going to be, and where he’s going to go. There’s a lot of things that they wanted to keep, and there’s a lot of things that they actually convinced me to change about the character.”
Dr. Mae Jemison and Sonequa Martin-Green (standing in center) with cast members and executive producers of “Star Trek: Discovery” at New York Comic Con on October 7, 2017. (Photo by Lisette M. Azar/CBS)
“Star Trek: Discovery” made history in 2017, for being the first “Star Trek” TV series to have a woman of color as the captain of the ship. Sonequa Martin-Green, who plays lead character Michael Burnham on the show, joined the “Star Trek: Discovery” team virtually from video linkup on the show’s TV set in Toronto. The show’s fifth season (which premieres in 2023, on a date to be announced) will feature the spaceship team going on a mystery quest to find an ancient hidden power.
Martin-Green, who respectfully acknowledged the passing of original “Star Trek” star Nichelle Nichols (who died on July 30, at the age of 89), said that the “Star Trek: Discovery” team is like a second family to her. She also commented on the show’s fifth season: “I really do give respect to the writers for this season, because we really do dig deeper than we ever have.”
Wilson Cruz (an Afro-Latino actor who plays Dr. Hugh Culber) and Anthony Rapp (a white actor who plays Paul Stamets) are both openly gay and friends in real life, and they portray an openly gay couple on “Star Trek: Discovery.” Rapp said his role on “Star Trek: Discovery” role was offered to him like a gift.
Cruz said, “I had the exact opposite experience. I chased [the role] down like a rabid dog, because it fit so neatly with my world perspective.” Cruz commented on the show’s diversity in its cast members: “This is what the cast of anything should look like. It should look like the world we live in.”
The “Star Trek” Universe panel also featured a segment for the animated series “Star Trek: Prodigy,” with Black actor Brett Gray and his co-stars Kate Mulgrew and Jameela Jamil. “Star Trek: Prodigy” will have its Season 2 mid-season premiere on October 27, 2022.
New TV Series
“The Midnight Club” panel at New York Comic Con on October 7, 2022. (Photo by Carla Hay)
Netflix’s “The Midnight Club” is a horror series that debuted on October 7, and immediately trended in the Top 10 on Netflix. The show’s first episode had its world premiere at New York Comic Con on October 6 before launching into the Q&A part of the show’s panel. “The Midnight Club” (which is set in the mid-1990s) has a racially diverse ensemble cast, but the show is told from the perspective of a main character who happens to be Black. Ilonka (played by Iman Benson) is a studious and intelligent orphan, who lives in California, finds out she has cancer, abandons her plans to go to Stanford University, and decides to live at the unconventional Brightcliffe Hospice, a facility for other teens and young adults with terminal illnesses.
Ilonka joins a clique of patients who secretly gather every midnight to tell each other scary stories, while the hospice has some sinister secrets that are revealed. The other Black people in “The Midnight Club” cast include Annarah Cymone as introverted Sandra, William Chris Sumpter as flamboyant Chris Spencer, and Adia (no last name) as dishonest Cheri, who all portray Brightcliffe patients.
During the show’s New York Comic Con panel, Benson said that she originally thought that the most difficult scene for her to do in the show would be in the first-episode scene where Ilonka finds out that she had cancer. “I wanted to make sure it was depicted authentically and done justice.” However, Benson commented that filming scenes in a later episode was more challenging for her, because “we’re dealing with terminal illness, and we end up losing [one of the characters on the show].”
“Transformers: EarthSpark” panel at New York Comic Con on October 9, 2022. Pictured from left to right: Diedrich Bader, Cissy Jones, Zion Broadnax, Sydney Mikayla, Ant Ward and Dale Malinowski. (Photo by Carla Hay)
The animated series “Transformers: EarthSpark,” which premieres November 11 on Paramount+, is about an African American family who adopts the first Transformers robots born on Earth. The voice cast includes Benni Latham as matriarch Dot Malto, and Jon Jon Briones as patriarch Alex Malto. Voicing the characters of Dot and Alex’s two kids are Sydney Mikayla as 13-year-old boy Robby Malto and Zion Broadnax as 9-year-old girl Morgan “Mo” Malto.
Mikyala and Broadnax were among the “Transformers: EarthSpark” cast members who were on the show’s October 9 panel at New York Comic Con. The panel included the world premiere of the first episode of “Transformers: EarthSpark,” which shows how rebellious Robby tried to run away from home, and instead he and Mo discovered two Transformers (space alien robots that can turn into vehicles) that eventually get adopted by the Malto family. The Transformers adoptees are named Twitch (voiced by Kathreen Khavari) and Thrash (voiced by Zeno Robinson), who are both Terran siblings. Also in the series are heroic leader Optimus Prime (voiced by Alan Tudyk)’ adventurous hero Bumblebee (voiced by Danny Pudi); villain Megatron (voiced by Rory McCann), Optimus Prime sidekick Elita-1 (voiced by Cissy Jones); and villain Mandroid (voiced by Diedrich Bader).
“Kindred” panel at New York Comic Con on October 9, 2022. Pictured, from left to right: executive producer Branden Jacobs-Jenkins and star Mallori Johnson. (Photo by Carla Hay)
“Kindred,” which is based on Octavia E. Butler’s 1979 sci-fi novel, tells the story of an aspiring screenwriter named Dana James (played by Mallori Johnson), who finds herself transported back and forth between modern-day L.A. and a pre-Civil War 1800s plantation in the South. “Kindred” will debut on FX on Hulu on December 13.
On October 9, attendees of the “Kindred” panel at New York Comic Con got to see an exclusive 17-minute clip from the show, followed by a Q&A with showrunner Branden Jacob-Jenkins and members of the cast. In the clip, which was from the first “Kindred” episode, Dana has just moved to L.A. and begins dating a white musician named Kevin Franklin (played by Micah Stock), who is intrigued and somewhat amused that Dana wants to write for soap opera TV shows. Dana has her first harrowing time-travel experience on the first night that she spends with Kevin in her new home.
On this mystery plantation, Dana encounters unfriendly matriarch Margaret Weylin (played by Gayle Rankin) and saves Margaret’s young son Rufus (David Alexander Kaplan) from drowning. Black characters in the “Kindred” series include Luke (played by Austin Smith), Sarah (played by Sophina Brown), and Olivia (played by Sheria Irving), who are enslaved characters on the show.
“Kindred” filmed in Georgia, and the cast members talked about although they had camaraderie while making the show, they also felt the weight and sadness of knowing that they were filming on land that used to have plantations involved in America’s shameful history of slavery. Johnson nearly choked up with tears when she said there were times on the “Kindred” set where she thought, “Oh my God, I can feel the presence of my ancestors here. It’s devastating. It’s jarring.”
A still from “Moon Girl and Devil Dinosaur” (Image courtesy of Marvel/Disney Channel)
The Disney Channel animated series “Marvel’s Moon Girl and Devil Dinosaur” (based on the comic book series of the same name) centers on 13-year-old genius Lunella Lafayette, also known as Moon Girl (voiced by Diamond White), who accidentally brings a 10-ton T-Rex, also known as Devil Dinosaur (voiced by Fred Tatasciore), from ancient times to modern-day New York City, where she lives. Together with Lunella’s best friend/manager Casey (voiced by Libbe Barer), Moon Girl and Devil Dinosaur go on a mission to protect their neighborhood from harm.
“Marvel’s Moon Girl and Devil Dinosaur” (which is already renewed for a second season) will premiere on February 10, 2023, the same date that the show’s first soundtrack will be released. Episodes will also be available on Disney+ after airing on Disney Channel. The voice cast includes Alfre Woodard as Lunella’s grandmother, Mimi; Libe Sasheer Zamata as Lunella’s mother, Adria; Jermaine Fowler as Lunella’s father, James Jr.; Gary Anthony Williams as Lunella’s grandfather, Pops; and series executive producer Laurence Fishburne in the recurring role of The Beyonder, a mysterious trickster.
Raphael Saadiq is the show’s executive music producer and chief songwriter/composer. On October 8, Saadiq and White were at “Marvel’s Moon Girl and Devil Dinosaur” panel at New York Comic Con, where White performed “Moon Girl Magic,” the show’s theme song. Black people who are guest stars in the show’s first season include “Star Trek: Discovery” actor Cruz, Daveed Diggs, Jennifer Hudson, Dr. Mae Jemison, Indya Moore, Craig Robinson, Cliff “Method Man” Smith, Wesley Snipes, and Tajinae Turner.
“Spawn” Movie Adds Screenwriters
Todd McFarlane at New York Comic Con on October 7, 2022. (Photo by Carla Hay)
The “Spawn” movie remake starring Jamie Foxx has been talked about and in development for years. “Spawn” creator/Image Comics co-founder Todd McFarlane, who had his own spotlight panel on October 7 at New York Comic Con, gave some updates on the movie. (McFarlane even played some brief and recent voice mail messages from Foxx to prove that Foxx is still committed and enthusiastic about the project.) McFarlane is still producing the movie, but he’s no longer writing and directing it. Instead, McFarlane says that the “Spawn” movie’s new director will be announced at a later date.
At New York Comic Con, McFarlane commented on the announcement that screenwriters Scott Silver, Malcolm Spellman, and Matthew Mixon have been hired to co-write a new “Spawn” screenplay. Spellman and Mixon are African American. Oscar-nominated Silver is the co-writer of 2019’s “Joker” and 2024’s “Joker: Folie à Deux.” Spellman’s screenwriting credits include the TV series “Bel-Air,” “Empire,” “The Falcon and the Winter Soldier” and the 2024 movie “Captain America: New World Order.” Mixon is a relative newcomer, with just two feature-length films (the 2016 documentary “Yesterday Was Everything” and the 2022 documentary “The Milwaukee Project”) so far as a filmmaker.
McFarlane said, “There’s diversity in our characters and the story. And we feel that we need voices from all different quarters.” What hasn’t changed is that McFarlane says that he wants this “Spawn” remake to be a movie franchise and one of the few comic-book-based movie series that is intended to be rated R. At the panel, McFarlane also showed some preview art for the “Batman/Spawn” crossover limited comic-book series, which is set for release on December 13, 2022.
Culture Representation: Taking place primarily in Berlin and New York City, the dramatic film “TÁR” features a cast of predominantly white characters (with some Asians) representing the middle-class and wealthy.
Culture Clash: An internationally famous classical music conductor finds her life spiraling out of control when her past actions come back to haunt her.
Culture Audience: “TÁR” will appeal primarily to people who are fans of star Cate Blanchett, writer/director Todd Field and well-acted movies about powerful people who experience a scandalous fall from grace..
Cate Blanchett and Nina Hoss in “TÁR” (Photo courtesy of Focus Features)
Cate Blanchett’s riveting performance in writer/director Todd Field’s “TÁR” makes it a psychological minefield of a drama. It’s an absorbing portrait of someone intoxicated by her own power and facing a reckoning that’s as unwelcome to her as a nasty hangover. Blanchett’s Lydia Tár character is a classical music conductor who has reached the top of her field, which makes her public downfall such a disastrous mess. Viewers can decide for themselves if this downfall could have been diminished based on how it was handled by the movie’s central character.
“TÁR” is Field’s first movie as a writer/director/producer since his Oscar-nominated 2006 drama “Little Children,” another movie about how a woman is affected by a sex-related scandal. Whereas “Little Children” told the story of a private citizen in a suburban U.S. neighborhood, “TÁR” is about a public figure who is an internationally famous entertainer. “TÁR” had its world premiere at the 2022 Venice International Film Festival in Italy and subsequently had premieres at the 2022 Telluride Film Festival in Colorado, and the 2022 New York Film Festival in New York City.
In “TÁR,” Lydia fits every definition of a type-A personality who’s an overachiever. The movie’s opening scene takes place at The New Yorker Festival, where writer Adam Gopnik (playing a version of himself) is interviewing Lydia in a one-on-one Q&A in front of the audience. It’s a laudatory interview, where her accomplishments are listed like badges of honor: She graduated Phi Beta Kappa from Harvard University. Lydia is also a piano performance graduate of the Curtis Institute, and she has a Ph.D. in musicology from the University of Vienna, specializing in music from the Ucayali Valley in Eastern Peru.
At one time or another, she has been a conductor for all of the “Big Five” American orchestras: New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra and Cleveland Orchestra. Lydia is a rare entertainer who is an EGOT winner: someone who has won an Emmy, Grammy, Oscar and Tony. She considers herself to be a New Yorker, and has a home in New York City, where she still visits on a regular basis. However, for the past seven years, Lydia has been living in Berlin, because she has been a conductor for an unnamed German orchestra.
Lydia, who describes herself as a “U-Haul lesbian,” lives with her German domestic partner Sharon Goodnow (played by Nina Hoss) and their adopted Syrian daughter Petra (played by Mila Bogojevic), who is about 6 or 7 years old. Sharon is a violinist in the German orchestra that Lydia conducts. It’s the first sign in the movie that Lydia has a tendency to blur the lines between her job and her personal life.
Lydia is a loner who doesn’t have a close circle of friends, so Sharon is Lydia’s closest confidante. Sharon knows a lot of Lydia’s secrets. However, Sharon eventually finds out that she doesn’t really know everything about Lydia. Two American men also have an influence on Lydia, and they give her advice, whether she wants to hear it or not.
Eliot Kaplan (played by Mark Strong) is an investment banker and amateur conductor, who has financed a non-profit program called the Accordion Conducting Fellowship, which is led by Lydia. The fellowship gives apprenticeships and job opportunities to aspiring female classical music conductors in this very male-dominated field. Near the beginning of the movie, Lydia tells Eliot during a lunch meeting that she’s thinking that the program recipients shouldn’t just be one gender.
The other man who plays an influential role in Lydia’s life is her mentor Andris Davis (played by Julian Glover), who was her predecessor at the German orchestra that Lydia currently conducts. Andris was the one who recommended her for the job, although it’s made clear throughout the movie that Lydia’s talent is so highly respected and sought-after, she probably didn’t need to a recommendation to get the job. What started out as a temporary job for Lydia to be the guest conductor position at this German orchestra turned out to be a long-term, permanent position.
If viewers believe the narrative that Lydia tells people, one of the reasons why she and Sharon decided to settle in Berlin was to be closer to Sharon’s family members who live in the area. But as the story unfolds, it becomes pretty obvious that Lydia might have had a reason to avoid living in New York full-time. It turns out that Lydia has a “stalker” who lives in New York City.
Lydia’s French assistant Francesca Lentini (played by Noémie Merlant) knows who this “stalker” is, because this person has been sending obsessive and threatening email messages to Lydia. Francesca has permission to access these messages, because Francesca screens Lydia’s mail. Francesca is an aspiring conductor who greatly admires Lydia and considers Lydia to be her mentor.
Over time, based on the way that Francesca acts and what she says, Francesca seems to assume that she will be Lydia’s first choice if any big job opportunity comes along that Lydia can help Francesca get. Lydia expects unwavering loyalty from Francesca, but Francesca expects the same loyalty in return. There’s some sexual tension between Lydia and Francesca that will make viewers speculate if or when the relationship between Lydia and Francesca ever became sexually intimate.
Just like a lot of hard-driving, ambitious and accomplished people, Lydia is a perfectionist who is just as hard on herself as she is on other people. A very telling scene is when she is a guest teacher in a classical music class at the prestigious Juilliard School in New York City. The students seem very intimidated by Lydia’s reputation for being merciless in her criticism, but she’s also full of praise for anyone who meets or exceeds her high standards.
During this class session, Lydia singles out a student named Max (played by Zethphan Smith-Gneist) and asks him, “What are you actually conducting?” Max is so nervous in her presence, one of Max’s legs is literally shaking as Max talks to her. However, Max isn’t so afraid of Lydia that Max won’t challenge some of the things that she lectures to the students.
For example, Lydia tells the students any great conductor or musician can find something to relate to in the music of classical icons Johann Sebastian Bach or Ludwig van Beethoven. Max disagrees and tells Lydia and the rest of the people in the room: “As a BIPOC [black, indigenous, or person of color], pan-gender person, it’s impossible to take Bach seriously.”
Lydia tells Max that she doesn’t know what BIPOC and pan-gender means, and her attitude is that she doesn’t care to know. She treats Max dismissively, like an ignorant young person whose opinions matter very little to her, because she’s the more experienced, older person. Finally, a fed-up Max gets tired of feeling belittled by Lydia, and Max walks out of the class. Before leaving the room, Max tells Lydia, “You’re a fucking bitch.”
In response, a stone-faced Lydia calls Max a “robot.” Throughout the movie, Lydia mentions that she dislikes it when people act like robots. During her lunch with Eliot, she says, “There’s no glory for a robot. Do your own thing.” Ironically, when Lydia’s world starts to come crashing down on her, she represses her emotions and turns to rigid routines (such as rigorous jogging and boxing) to cope, and thereby acts very much like a “robot,” in an attempt to tune out her troubles.
Lydia is under enormous career pressure when things start to fall apart for her. The German orchestra is preparing for a Deutsche Grammophon live recording date of Mahler’s Symphony No. 5, which will be a major accomplishment in her career. In addition, Lydia is working on writing an original classical piece. However, she seems to be having writer’s block, and she doesn’t really want to admit this problem to anyone.
While in Berlin, Lydia meets a Russian cellist Olga Metkina (played by Sophie Kauer), who is 18 or 19 years old. Olga acts like a star-struck fan with Lydia, who is flattered. Lydia also seems to be sexually attracted to Olga. Meanwhile, Olga seems to be aware of this attraction and makes it clear that she’s eager for any opportunity to work with Lydia.
“TÁR” is fascinating to watch for how it unpeels the layers of Lydia’s contradictory character that is capable of hiding a web of lies and secrets. Lydia can be charismatic and funny, but she can also be ruthless and cruel. She is a workaholic who doesn’t spend a lot of quality time with her daughter Petra, but Lydia quietly threatens the girl at Petra’s school who has been bullying Petra.
Lydia claims to be open to collaboration and hearing different ideas, but when anyone dares to question her ideas or decisions, she gets revenge in passive-aggressive ways. An elderly orchestra member named Sebastian Brix (played by Allan Corduner) finds out the hard way how vindictive Lydia can be. What happens to Sebastian sets off a certain chain events that will accelerate the scandal that could lead to Lydia’s downfall.
In telling the story of this complex person, Field also uses haunting flashback techniques that resemble a fever dream, where Lydia remembers things related to the scandal that threatens to end her career. Lydia also sometimes wakes up in the middle of the night to random sounds, such as a metronome that seems to have started on its own. It further fuels the sense that Lydia is being haunted. How much of it is her own doing? As the tension builds and things get worse for Lydia, the movie’s cinematography (played by Florian Hoffmeister) and the music (by Hildur Guðnadóttir) become more foreboding, creating a sense that the proverbial walls are closing in on her.
The character of Lydia is so well-written and embodied with such realism by Blanchett, people who don’t know anything about the world of classical music might mistake “TÁR” for being a biopic based on a real person. All of the other cast members play their parts well, but the movie would not be as effective without Blanchett’s masterful performance. (Field has said in interviews that he wrote the “TÁR” role only for Blanchett.) It’s the type of virtuoso, top-notch performance that would make Lydia Tár very proud.
Focus Features released “TÁR” in select U.S. cinemas on October 7, 2022, with an expansion to more U.S. cinemas on October 28, 2022.
Christian Bale, Margot Robbie, John David Washington, Mike Myers and Michael Shannon in “Amsterdam” (Photo by Merie Weismiller Wallace/20th Century Studios)
Culture Representation: Taking place primarily in New York City and Amsterdam, from 1918 to 1933, the dramatic film “Amsterdam” features a predominantly white cast of characters (with some African Americans) representing the working-class, middle-class and wealthy.
Culture Clash: A medical doctor, his attorney best friend, and the attorney’s girlfriend get caught up in a murdery mystery involving wealthy and powerful people.
Culture Audience: “Amsterdam” will appeal primarily to people who are fans of the stars of the movie, which doesn’t offer much that’s compelling except for its star power.
Pictured clockwise, from left: Anya Taylor-Joy, Rami Malek, Christian Bale, Robert De Niro and Margot Robbie in “Amsterdam” (Photo by Merie Weismiller Wallace/20th Century Studios)
The frequently boring and muddled “Amsterdam” has many big-name stars, but this misguided drama just adds up to a lot of posturing and hot air. The filmmakers cared more about wrangling celebrities into the cast than crafting a story worthy of this talent. “Amsterdam” is a huge misfire from writer/director David O. Russell, who seems so enamored with the star power in the movie, he let the acting and tone of “Amsterdam” become scattershot and uneven.
“Amsterdam” veers in and out between voiceover narration of three characters: medical doctor Burt Berendsen (played by Christian Bale), his attorney best friend Harold Woodman (played by John David Washington), and Harold’s girlfriend Valerie Voze (played by Margot Robbie). Burt gets the most voiceover narration and is presented in the movie as the lead protagonist. The story, which takes place primarily in New York City and Amsterdam, jumps around in the timeline from 1918 to 1933, with several flashbacks within this time period.
As shown in a flashback, Burt (who has questionable medical ethics) and Harold (who is more sincere and staightforward), who are both from New York City, met each other in Europe in 1918, when they were soldiers in World War I. When they were both wounded in the war in France, they ended up in the care of Valerie, who pretended to be a French nurse named Valerie Vandenberg while living in France. It turns out (which was already revealed in the “Amsterdam” trailer), Valerie is really an American heiress who was estranged from her family and trying to start over with a new life in Europe.
While Burt and Harold healed from their wounds, the three of them went to Amsterdam, became close, and made a loyalty pact with each other. Harold and Valerie fell in love, while Burt remained ambivalent about his crumbling and unhappy marriage to heiress Beatrice Vandenheuvel (played by Andrea Riseborough), who pressured a reluctant Burt to enlist in the military so that he could become a war hero who would get medals of honor. The tight-knit trio of Burt, Harold and Valerie unraveled when Valerie suddenly left of her own choice and didn’t tell Harold and Burt where she was going.
Burt and Harold eventually returned to New York City, where they have been helping each other out by referring clients and patients to each other. The movie opens in 1933, when Burt is asked by heiress Liz Meekins (played by Taylor Swift) to do an autopsy of her father, General Bill Meekins (played by Ed Begley Jr.), who passed away unexpectedly. Liz believes that her father did not die of natural causes. The autopsy reveals that her father could have been poisoned. (Squeamish viewers be warned: The autopsy scene is very graphic.)
But before toxicology test results can be processed, Liz tells Burt and Harold that she wants to call off the investigation. While Liz, Harold and Burt are speaking outside on a street, a shady character named Taron Milfax (played by Timothy Olyphant) pushes Liz in front of a car in motion. She is run over by the car and killed instantly. Police are nearby, and Taron immediately says that Burt and Harold killed Liz by pushing her in front of the car.
Burt and Harold vehemently deny it, and then run away when it looks like the police don’t believe them. Burt and Harold become the prime suspects in the murder and do their own investigation to clear their names. During the course of this investigation, Burt and Harold find out that Valerie is really an American heiress who has been living in nearby New Jersey for several years. Valerie lives with her oddball brother Tom Voze (played by Rami Malek) and Tom’s domineering wife Libby Voze (played by Anya Taylor-Joy), who tries to control the lives of Valerie and Tom.
Harold, who was heartbroken over Valerie’s sudden departure from his life, eventually forgives her, and they resume their love affair. Burt’s love life isn’t going so well, since Burt’s wife Beatrice has asked him to move out of their apartment. Beatrice tells Burt that she’s unhappy in the marriage because he used to be “beautiful,” but his war scars (including his injured back) have made him “hideous,” and he’s an overall disappointment to her. Harold, Valerie and Burt eventually cross paths with General Gil Dillenbeck (played by Robert De Niro), “the most decorated military general in U.S. history,” who has power, influential connections and political aspirations.
“Amsterdam” is packed with a lot of undeveloped characters who don’t do much except show that the “Amsterdam” filmmakers could get well-known actors to play the roles of these characters. Chris Rock has the role of Milton King, a wisecracking former war buddy of Burt and Harold. Milton, who currently works for Harold, is supposed to be hilarious, but he’s not. Milton’s not-funny-at-all remarks include his obnoxiously racist comments about white people. Alessandro Nivola is Detective Hiltz, and Matthias Schoenaerts is Detective Lem Getweiler, the two generic police characters who are leading the Meekins murder investigation.
Zoe Saldaña has the role of Irma St. Clair, Burt’s strong-willed autopsy nurse, whose feelings for Burt might go beyond a work relationship. And, of course, any movie that involves war and international intrigue has to predictably have spies. In “Amsterdam,” they are Paul Canterbury (played by Michael Shannon) and Henry Norcross (played by Mike Myers), whose spy identities are shown as captions immediately when these characters are first seen on screen.
“Amsterdam” is made with the tone that audiences should automatically be impressed by all the celebrities who are in the cast. Unfortunately, “Amsterdam” has so much awful dialogue and messy plot developments, all that star power is wasted in a substandard movie. Bale, Washington and Robbie seem to be doing their best as the three central characters, but this three-way friendship looks awkward and fake on screen. Awkward and fake is how to describe “Amsterdam” overall—an example of how star power in front of the camera can’t save a bad movie.
20th Century Studios released “Amsterdam” in U.S. cinemas on October 7, 2022.
Culture Representation: Taking place in New York City, the comedy musical film “Lyle, Lyle, Crocodile” features a predominantly white cast of characters (with some Asians, African Americans and Latinos) representing the middle-class and working-class.
Culture Clash: When a flamboyant vaudeville performer suddenly has to leave home to go on tour, he leaves his singing crocodile behind in his New York City home, where a new family moves in, keeps the crocodile as a pet, and gets in trouble for it by a neighbor who wants the crocodile out of this residential neighborhood.
Culture Audience: “Lyle, Lyle, Crocodile” will appeal primarily to fans of Bernard Haber’s 1965 book of the same name and family-friendly movies that dumb down the original source material.
Javier Bardem in “Lyle, Lyle, Crocodile” (Photo by Fernando Decillis/Columbia Pictures)
Simple-minded to a fault, the trite comedy “Lyle, Lyle, Crocodile” fails to do justice to Bernard Waber’s charming children’s book. The original songs are the best aspects of this dull and vapid movie, which relentlessly insults viewers’ intelligence. There’s so much tedious formula in the movie’s screenplay and so much lazy editing, it’s obvious that more thought and imagination were put into crafting the songs rather than putting an innovative cinematic spin on a beloved children’s book.
Directed by Will Speck and Josh Gordon, “Lyle, Lyle, Crocodile” looks like the filmmakers decided to just coast on the name recognition of the “Lyle the Crocodile” book series and put some famous people in the movie’s cast as a way to fool audiences into thinking that it would be a reasonably good film. It’s not. Will Davies wrote the very lazy and unimaginative “Lyle, Lyle, Crocodile” screenplay. Apparently, the “Lyle, Lyle, Crocodile” filmmakers think that “child-oriented entertainment” is supposed to be “stupid entertainment.”
“Lyle, Lyle, Crocodile” (which takes place in New York City) begins by introducing vaudeville performer Hector P. Valenti (played by Javier Bardem), who can be a fast-talking, hustling con artist when he has to be. Hector will say and do anything to make quick money from whatever he can do in showbiz. In the movie’s opening scene, Hector fails an audition to be a magician on a TV talent show called “Show Us What You’ve Got.”
Hector soon meets a smaller-than-usual adult crocodile that he names Lyle, which he buys from a pet store called Eddie’s Exotic Animals. Hector (who is bachelor with no children) brings Lyle home to live with him as a pet. Never mind that in real life, you just can’t walk into a pet store and buy a crocodile, because that type of animal sale in a pet store is illegal. And it’s also illegal in New York City and most other U.S. cities to keep a crocodile as a pet in a private, residential home. This lack of realism is not this movie’s biggest problem.
At first, Hector thinks he’s just going to have the crocodile as part of Hector’s mediocre magician act. But then, Hector finds out that Lyle can sing. And the next thing you know, Lyle and Hector become a performing duo. Lyle is the main attraction, while Hector is the emcee. The duo’s act become a big hit.
But their good fortune comes to an abrupt halt when Lyle unexpectedly loses his singing voice while on stage. Hector calls it a “minor setback,” and he decides he’ll have to go on tour as a solo act to make some money. While Hector is away from home, he keeps Lyle hidden in the attic. Hector leaves Lyle behind with nothing but a book of songs.
Although “Lyle, Lyle, Crocodile” is lightweight entertainment, the movie irresponsibly glosses over some issues that should have been addressed in the movie. Lyle (who looks very sad to see Hector go) essentially has to fend for himself when locked up in the home. It’s a form of animal cruelty. Because it isn’t made clear how long Hector will be away, it’s very likely Lyle was going to run out of food.
And apparently, Hector was away for so long, another family moved into what the family thought was an unoccupied house. The real-estate situation in this story is very murky and purposely vague, ignoring real-life details such as house inspections and home appraisals that home owners usually have to go through before buying or renting out a home. It’s also never really clear why or how this house went on the market. There’s some real-estate talk rushed in toward the end of the movie to conveniently explain something to make a problem go away, but it’s all so ridiculous and phony.
Hector eventually comes home and finds out another family is living there, and these new residents have found Lyle. And eventually (as shown in the movie’s trailer), Hector joins in on some of the shenanigans involving Lyle and the family trying to prevent Lyle from being confiscated by animal welfare authorities. Hector should’ve thought of that when he left a crocodile home alone for who knows how long.
But there would be no “Lyle, Lyle, Crocodile” movie if people acted with common sense. At any rate, you already know where this story is going if you’re familiar with the “Lyle the Crocodile” book series, or if you’ve seen enough movies were an animal befriends a lonely, misfit child, but a miserable adult wants to break up the friendship by taking the animal away. Predictable stories can be entertaining if delivered with some unique flair, but “Lyle, Lyle, Crocodile” lacks a lot of creativity in the movie’s dialogue and action scenes.
The family that ends up sharing living space with Lyle consists of married couple Mr. Primm (played by Scoot McNairy), Mrs. Primm (played by Constance Wu) and their son Josh Primm (played by Winslow Fegley), who’s about 12 or 13 years old. Most of the adults in the movie do not have first names. And they also don’t have anything memorable to say.
Josh isn’t happy about this move to a new home, because he liked living in the unnamed suburbs where the family used to live. Joe complains out loud that most people move to the suburbs to get away from the city, and he doesn’t understand why his parents wanted to do the opposite. Get used to seeing Josh being a bit of a whiny brat, because that’s apparently why he needs a talking and singing crocodile to teach him how to be a better human being.
Josh has problems fitting in at his new school. He doesn’t excel at anything in particular, and he has a hard time making friends. He’s on the school’s wrestling team, where he frequently loses in practice matches. Guess who’s going to get Josh to do things that are outside of Josh’s comfort zone to experience things that will build up Josh’s confidence? Josh also predictably befriends a neighborhood girl named Kara Delany (played by Lyric), a generic character who’s only in the movie to give Josh someone else to hang out with besides Lyle.
Before Josh and Lyle become friends, Lyle and Josh get off to a rough start, when Josh at first thinks that this crocodile is a pesky nuisance. There are some not-very-funny slapstick scenes of Lyle escaping from the house and causing some mischief. In one scene, Lyle accidentally swallows a neighbor’s pet cat, but then Lyle ends up vomiting up the cat unharmed.
Eventually, Mr. and Mrs. Primm find out about Lyle, who charms almost every human he meets with his upbeat singing. Mr. Primm is a laid-back teacher at a private middle school for girls, who wear matching school uniforms. Mrs. Primm is a cookbook author who is frustrated that she put her career on hold to raise Josh. Expect to see some tedious and predictable scenes involving Mrs. Primm’s cooking skills and Lyle.
The story’s “villain” is Mr. Grumps (played by Brett Gelman), who finds out about Lyle and is outraged that there’s a crocodile living as a pet in a residential building. Mr. Grumps is determined to have Lyle removed and taken away from the home. Apparently, Mr. Grumps didn’t get the memo that crocodiles aren’t dangerous if they can sing human songs.
“Lyle, Lyle, Crocodile” doesn’t have much of a story and attempts to fill this void with several performances of songs written for the movie. Oscar-winning songwriting duo Benj Pasek and Justin Paul (“La La Land”) wrote most of the original songs in “Lyle, Lyle, Crocodile. Other songwriters who contributed to the movie’s original tunes include Mendes, Joriah Kwamé, Emily Gardner Xu Hall, Mark Sonnenblick and Arianna Asfar. Pasek, Paul and Matthew Margeson co-wrote the movie’s original score.
Even with all this songwriting talent, there’s nothing award-worthy about the movie’s music, which is far from Pasek and Paul’s best work. Songs like “Take a Look at Us Now” (a Mendes/Bardem duet), “Carried Away,” “Rip Up the Recipe” (a Mendes/Wu duet) and “Top of the World” are pleasant, but also instantly forgettable. Pasek and Paul wrote original songs for 2017’s “The Greatest Showman,” which had a lot of memorable and catchy tunes, regardless of how people felt about the movie’s screenplay.
The “Lyle, Lyle, Crocodile” filmmakers also made the odd decision not to have “best friends” Lyle and Josh perform a duet, which would have given this movie more emotional resonance. Fegley is one of the main characters in the movie, but he doesn’t even have a moment in the movie to shine in the spotlight as a singer, in the way that Bardem and Wu have their respective duets with Mendes. As it stands, so much of “Lyle, Lyle, Crocodile” looks and sounds assembly-line formulaic. There’s very little soul to be found in this hollow film.
Bardem seems to be having some fun hamming it up in his song-and-dance scenes, but that’s not saying much, because he’s not a great singer or dancer. He’s not terrible, just not superb. The computer-generated animation for Lyle doesn’t have much of a charismatic personality, especially when Lyle loses his singing voice for a large chunk of the story. Mendes is bland and bland can be in this role.
Fegley does a version of the many misfit kid characters that he’s played in movies. McNairy and Wu look like they’re just going through the motions and reciting lines of dialogue. Gelman is nothing but a caricature villain. Everything in this movie is cliché-ridden, very corny, and not very funny for a movie that’s supposed to be a comedy.
“Lyle, Lyle, Crocodile” drags on and on with silly scenarios until the movie’s inevitable conclusion. (And yes, there’s a predictable scene where Elton John’s “Crocodile Rock” is performed by members of the cast.) In real life, crocodiles spend a lot of time in water. “Lyle, Lyle, Crocodile” is so watered-down with banality, it’s washed away any outstanding qualities that this disappointing movie could have had.
Columbia Pictures will release “Lyle, Lyle, Crocodile” in U.S. cinemas on October 7, 2022.
Cynthia Addai-Robinson, Ismael Cruz Córdova and Charlie Vickers in “The Lord of the Rings: The Rings of Power” (Photo by Matt Grace/Prime Video)
The 17th annual New York Comic Con takes place October 6 to October 9, 2022, in New York City. New York Comic Con has returned to being an in-person-only event, after being a hybrid event (where people could attend in person or virtually) in 2021. Due to the COVID-19 pandemic, New York Comic Con was cancelled as an in-person event in 2020 and instead presented as a scaled-down virtual-only event. Before the pandemic, New York Comic Con attracted about 250,000 people per year since 2017, according to ReedPOP, the company that produces the event. The first New York Comic Con took place in 2006.
In 2022, New York Comic Con’s main hub remains the Jacob K. Javits Convention Center. Due to the COVID-19 pandemic, New York Comic Con in 2022 has less activities, panels and locations than in previous years. For example, in 2019, New York Comic Con took place at several other locations in New York City, including Hammerstein Ballroom, the Hulu Theater at Madison Square Garden, the New York Public Library, the Way Station (in Brooklyn) and AMC 34th Street. Anime Fest (an offshoot of Anime Expo that was presented in conjunction with New York Comic Con in 2018 and 2019) will not take place at New York Comic Con in 2022. Anime Fest was also cancelled in 2021. It’s unknown at this point if Anime Fest will be revived.
The COVID-19 pandemic has also resulted in safety requirements for New York Comic Con that began in 2021. All attendees are being asked to wear a face covering/mask at all times while inside a New York Comic Con building, except when eating or drinking. However, attendees do not have to show proof of vaccination or a negative COVID-19 test, which were requirements in 2021.
TV shows continue to dominate the most high-profile panels and activities. New York Comic Con in 2022 has the following TV shows with panel showcases in the event’s largest rooms: CBS’s supernatural comedy series “Ghosts” on October 6; HBO Max’s animated series “Velma” (a spinoff of the “Scooby-Doo” series) on October 6; HBO/BBC’s fantasy drama series “His Dark Materials” on October 6; Fox’s animated series “Krapopolis” on October 7; Disney+’s action series “American Born Chinese” on October 7; Prime Video’s fantasy series “Good Omens” on October 7; Crunchyroll’s anime series “Chainsaw Man”; Syfy’s horror series “Chucky”; and Disney+’s fantasy series “The Mysterious Benedict Society” on October 7. Prime Video’s fantasy series “The Wheel of Time” and “The Lord of the Rings: The Rings of Power” will have a joint panel on October 7.
More TV show panels include Prime Video’s sci-fi series “The Peripheral” on October 8; Netflix’s “Shadow and Bone” on October 8; Crunchyroll’s “My Hero Academia” on October 8; Netflix’s horror/fantasy series “Wednesday” (a spinoff of “The Addams Family”) on October 8; AMC’s “The Walking Dead” on October 8; Disney+’s “The Muppets Mayhem” on October 9; The WB’s “The Winchesters” on October 9; and Starz’s “The Outlander” on October 9.
Paramount+’s “Star Trek” Universe will have a multi-series panel on October 8, with stars from “Star Trek: Discovery,” “Star Trek: Picard” and “Star Trek: Prodigy.” HBO Max’s “Doom Patrol” and “Titans” will have a joint panel on October 9. Cartoon Network and Adult Swim’s panel on October 9 will include a sneak preview of the “Unicorn: Warriors Eternal” series with creator Genndy Tartakovsky. There will also be a “Smallville” reunion on October 8, with stars Tom Welling, Erica Durance, Kristin Kreuk and John Glover.
Pictured from left to right: Alex Hassell, Edi Patterson, Alexis Louder, Leah Brady and David Harbour in “Violent Night” (Photo by Allen Fraser/Universal Pictures)
Most of the feature films that have panels at New York Comic Con this year are animated films and horror movies. They include the world premiere screenings of horror film “Significant Other” on October 6 and the action-comedy “Violent Night” on October 7. The horror film “V/H/S/99” will have a discussion panel and sneak preview clips on October 7. Animated films getting their own panels include “Aqua Teen Forever: Plantasm” on October 6; “Batman and Superman: Battle of the Super Sons” on October 7; “Wendell & Wild” on October 8; and “Mortal Kombat Legends: Snow Blind” on October 8. There will also be panel discussions for “Teen Wolf: The Movie” on October 7, and the zany biopic “Weird: The Al Yankovic Story” on October 9.
In addition, New York Comic Con will have Q&As that each spotlight different actors and actresses. Two scream queens will team up when Jamie Lee Curtis (star of several “Halloween” movies) will be interviewed by Drew Barrymore (1996’s “Scream”) for a Q&A on October 8. For 1980s nostalgia, there’s a “Back to the Future” reunion panel with stars Michael J. Fox and Christopher Lloyd on October 8. Oscar Isaac (who has starred in some “Star Wars” sequels, the 2021 remake of “Dune” and the Disney+ series “Moon Knight”) gets a spotlight Q&A on October 9.
Broadway stars are represented on several panels. “The Big Broadway Nerd Panel” will feature panelists Mason Alexander Park on October 6. Other panels about Broadway productions and musical theater include “#BroadwayToHollywood: A New Age of Musicals” on October 6; “Beetlejuice on Broadway” on October 7; “The Broadway Bard Party” on October 8; and “Sesame Street The Musical Panel” on October 9.
The 2022 Harvey Awards Hall of Fame ceremony will be take place during New York Comic Con on October 7. The recipients are author Neil Gaiman (“The Sandman,” “American Gods”), “Little Lulu” creator Marjorie Henderson Buell, underground cartoonist Gilbert Shelton and DC Comics/Marvel Comics writer and editor Roy Thomas.
New York Comic Con also offer specialty areas for attendees with specific identity needs. New this year at the River Pavilion is a gathering space called Asia Pop, for fans and enthusiasts of Asian pop culture. The Asia Pop center will offer discussion panels and a manga lending library. Also new this year is the Pride Lounge (located in Room 1C01-02), for people with LGBTQ interests, with some LGBTQ-themed discussion panels and guest appearances.
Family HQ (in Room 1E01-05) is a family-friendly environment, with an emphasis on activities for pre-teen children. In addition, Gaming Zone (in Room 1E) returns to offer a variety of options for gamers. The Community Lounge (located in the River Pavilion) is for informal gatherings and if attendees just need a place to relax away from the hustle and bustle of the other areas of the event. Julie Plec, creator/showrunner of “The Vampire Diaries” and “The Vampire Academy” TV series will be doing a special meet-up with fans in the Community Lounger on October 6, from 1:30 p.m. to 2:30 p.m.
And, of course, there will be plenty of panels, exhibits and previews for comic books, video games, fantasy novels and other pop-culture attractions. It wouldn’t be a Comic Con without cosplaying and merchandise sales. The Cosplay Central area returns to the River Pavilion at the Javits Center. While at Cosplay Central, cosplayers can mingle, pose for photos, use the dressing rooms and attend panel discussions. The New York Comic Con finalist round for the Cosplay Central Crown Championship will take place on October 8 at Main Stage 1D Hall. New York Comic Con also has an enormous amount of merchandise for sale for numerous types of entertainment.
AUTOGRAPH SESSIONS AND PHOTO OPS
Several stars from movies and TV shows will have individual autograph sessions and/or photo opportunities with fans, for a fee. All celebrities are offering autographs and photos, unless otherwise noted. Prices will vary, according to the celebrity. Participants include:
Ben Barnes (“Shadow and Bone,” “The Chronicles of Narnia”) on October 8 and October 9.
David Boreanaz (“Buffy the Vampire Slayer,” “Angel,” “Bones,” “SEAL Team”) on October 7.
Rachael Leigh Cook (“She’s All That,” “Josie and the Pussycats”) on October 7, October 8 and October 9.
Mick Foley (WWE star) on October 6, October 7, October 8 and October 9.
Michael J. Fox (“Back to the Future”) on October 7 and October 8.
Brendan Fraser (“Doom Patrol,” “The Mummy”) on October 8 and October 9.
Tyler Hoechlin (“Superman and Lois,” “Teen Wolf”) on October 8 and October 9.
Sam Heughan (“Outlander”) on October 8 and October 9.
Boyd Holbrook (“The Sandman,” “The Predator”) on October 8 and October 9.
Ice-T & Coco (“Ice Loves Coco”) on October 8 and October 9.
Oscar Isaac (“Star Wars” sequels, “Moon Knight,” “Dune”) on October 8 and October 9.
Tom Kenney (“SpongeBob SquarePants”) on October 6, October 7, October 8 and October 9.
John Leguizamo (“Super Mario Bros.,” “John Wick”) on October 6 and October 7.
Christopher Lloyd (“Back to the Future”) on October 7, October 8 and October 9.
Ralph Macchio (“Cobra Kai,” “The Karate Kid”) on October 6 and October 7.
Anson Mount (“Star Trek: Strange New Worlds”) on October 8 and October 9.
Cassandra Peterson (“Elvira, Mistress of the Dark”) on October 6, October 7, October 8 and October 9.
Sebastian Stan (Marvel Cinematic Universe movies, “The Falcon and the Winter Soldier”) on October 7.
Tom Sturridge (“The Sandman”) on October 7 and October 8.
Tom Welling (“Smallville”) on October 7, October 8 and October 9.
TELEVISION AND WEB SERIES PANELS
(All panel descriptions are courtesy of New York Comic Con.)
“Big City Greens”
October 6, 2022, 1:30 PM – 2:30 PM
Room 405
We’re headed to the City! Panelists include Chris Houghton (creator/executive producer, voice of Cricket Green), Artemis Pebdani (voice of Gramma Alice), Marieve Herington (voice of Tilly Green), Bob Joles (voice of Bob Green) and Zeno Robinson (voice of Remy Remington), moderated by Shane Houghton (creator/executive producer). Get an opportunity to learn more about the show as they discuss some of their inspiration for the series, favorite episodes, behind the scenes moments, and what’s ahead for the Disney Channel original series, including an exclusive sneak peek.
“Ghosts”
October 6, 2022, 2 PM – 3 PM
Main Stage
Welcome to Woodstone! TV’s #1 new series and fan favorite phenomenon GHOSTS, follows Samantha and Jay a couple who learn that their new dream house is inhabited by ghosts that only Samantha can see and hear. Please join select cast members and executive producers for an exclusive sneak peek of an episode from Season Two followed by a lively and “spirited” moderated panel discussion.
“The Owl House”
https://www.youtube.com/watch?v=RveKZQ4DeYI
October 6, 2022, 3 PM – 4 PM
Room 405
Hoot Hoot! Join “The Owl House” creator/executive producer Dana Terrace, Sarah-Nicole Robles (voice of Luz), Mae Whitman (voice of Amity), Alex Hirsch (voice of King and Hooty) and Zeno Robinson (voice of Hunter) as they discuss the Peabody Award-winning animated series, the epic adventures that fans can expect ahead of its season three premiere on Disney Channel and answer your burning questions. The panel will be moderated by Cissy Jones (voice of Lilith).
“Pennyworth: The Origin of Batman’s Butler”
October 6, 2022, 3:15 PM – 4:30 PM
Room 401
The DC origin series “Pennyworth: The Origin of Batman’s Butler” follows Alfred Pennyworth, a former British SAS soldier, who forms a security company in 1960s London and goes to work with young billionaire Thomas Wayne and his wife Martha, before they become Bruce Wayne’s parents. Season three, premiering October 6 as a Max Original, begins after a five-year time jump: the civil war is over, and a cultural revolution has changed the world for better or worse – ushering in a new age of Super Heroes and Supervillains. Join series stars Jack Bannon and Ben Aldridge along with executive producers Bruno Heller and John Stephens for a screening of the thrilling season three premiere, as well as a discussion of the new season, exclusive sneak peeks and more. The panel will be moderated by Christian Holub (Entertainment Weekly).
“Velma”
October 6, 2023, 3:30 PM – 5 PM
Main Stage
From Warner Bros. Animation, Velma is an adult animated comedy series telling the origin story of Velma Dinkley, the unsung and underappreciated brains of the Scooby-Doo Mystery Inc. gang. An original and humorous spin that unmasks the complex and colorful past of one of America’s most beloved mystery solvers. Join executive producer Mindy Kaling who voices Velma along with showrunner Charlie Grandy and special guests for a sneak peek at the first episode.
“Koala Man”
October 6, 2022, 4:30 – 5:30 PM
Room 405
Head down under for “Koala Man,” a brand-new animated comedy from the creators of “Rick and Morty” and “Pokémon Detective Pikachu” coming to Hulu! Join creator, executive producer and the Koala himself Michael Cusack, and executive producers Justin Roiland, Dan Hernandez and Benji Samit for the world premiere screening, followed by a Q&A to learn everything about what the suburban Aussie superhero is all about!
“One of Us Is Lying”
October 6, 2022, 5 PM – 6 PM
Room 401
Panel with OOUIL cast and showrunner to discuss where we left off in Season 1 and tease Season 2 which will exclusively drop on Peacock on October 20 2022.
“His Dark Materials”
October 6, 2022, 5:30 PM – 6:30 PM
Main Stage
From Philip Pullman’s epic His Dark Materials fantasy trilogy, in the final chapter of the HBO and BBC One series, Lyra (Dafne Keen), the prophesied child, and Will (Amir Wilson), the bearer of The Subtle Knife, must journey to a dark place from which no one has ever returned. But as her father, Lord Asriel’s (James McAvoy), great war against the Authority edges closer, they will learn that saving the worlds comes at a terrible price. Join executive producers Jane Tranter and Dan McCulloch and series stars Dafne Keen, Amir Wilson, and James McAvoy for a preview of the final season, including exclusive first looks, announcements, and more. The panel will be moderated by Emily Aslanian (TV Guide Magazine).
“The Paloni Show! Halloween Special!”
October 6, 2022, 5:30 PM – 6:15 PM
Room 405
Ghastly greetings! Join executive producers Justin Roiland and Ben Bayouth and star Zach Hadel to discuss their upcoming project on Hulu, “The Paloni Show! Halloween Special!,” while treating fans to an exclusive look at the Paloni family hosts and their favorite spooky shorts!
“Solar Opposites”
October 6, 2022, 6:15 PM – 7 PM
Room 405
Join our panel for an out-of-this-world conversation with co-creators and executive producers Justin Roiland and Mike McMahan, and executive producers Josh Bycel and Danielle Uhlarik who will discuss season three and the newly release Halloween special on Hulu, as well as what the Solars have to come, including an exclusive look at season four and exciting news.
“The Midnight Club”
https://www.youtube.com/watch?v=X3cCROeOQLQ
October 6, 2022, 7:30 PM – 9 PM
Room 405
Want to hear a scary story? As the clock ticks down to midnight for the launch of “The Midnight Club” on Netflix, you can be among the first to see the World Premiere at New York Comic Con. Following the screening, join series creator Mike Flanagan, and special guests, for what promises to be a thrilling panel.
“The Legend of Vox Machina”
October 6, 2022, 7:30 PM – 8:30 PM
Empire Stage
Join the executive producers and cast of The Legend of Vox Machina for an exclusive sneak peek of what’s to come in the animated series’ highly anticipated second season. Based on the beloved characters and adventures of Critical Role’s first livestreamed tabletop role-playing game campaign, this fantasy adventure quickly grew into an animated sensation. After saving the realm from evil and destruction at the hands of the most terrifying power couple in Exandria, Vox Machina is faced with saving the world once again—this time, from a sinister group of dragons known as the Chroma Conclave.
“One Piece”
October 6, 2022, 7:45 PM – 8:45 PM
Room 406.3
Screening of “One Piece” Episode #1029 and #1030. Special tie-in episodes to the new movie “One Piece Film Red.” featuring the backstory of when young Luffy met Shank’s daughter Uta.
“Ghost Brothers: Lights Out”
October 7, 2022, 10:45 AM – 11:45 AM
Room 401
As the first and only black paranormal investigators Dalen Spratt, Juwan Mass, and Marcus Harvey are seeking the truth in the spiritual realm, and with multiple TV series plus a podcast, the trio has a lot to share from their supernatural haunts and jaunts. The Brothers will give fans exclusive intel on the new season of their hit discovery+ series “Ghost Brothers: Lights Out,” their wildest ghost hunts, and what their paranormal work means to them. Fans in the room will also receive an exclusive giveaway. Come venture into the unknown with Ghost Brothers!
“Good Omens”
October 7, 2022, 11 AM – 12 PM
Empire Stage
In 2019, Aziraphale and Crowley helped save the world from the Apocalypse. Next year, they’ll return to solve a mystery that takes in all of Heaven and Hell. It’s time for an overdue celebration of all things Good Omens, and some of the creators and cast will return to New York Comic Con for a very special fan Q&A. Plan your questions and get ready to share in the behind-the-scenes stories of our favorite angel and demon, and perhaps some of your most burning questions about what you can expect in Season Two will be answered with more than just a “wait and see.”
“Krapopolis”
October 7, 2022, 11 AM – 12 PM
Main Stage
Join creator Dan Harmon (“Rick and Morty”) for an in-depth conversation on his upcoming animated series “Krapopolis.” Set in mythical ancient Greece, “Krapopolis” centers on a flawed family of humans, gods and monsters that tries to run one of the world’s first cities without killing each other. From Bento Box Entertainment, “Krapopolis” is the first animated series to be curated on the blockchain and will premiere in 2023 on FOX.
“American Born Chinese”
October 7, 2022, 12:30 PM – 1:30 PM
Main Stage
Join the cast and creative team of the highly anticipated Disney+ Original series “American Born Chinese,” the genre-hopping action-comedy based on the graphic novel of the same name. The series follows the life of Chinese American teen Jin Wang as he navigates high school and unwittingly finds himself entangled in a battle of Chinese mythological gods. The event will include a moderated panel with Q&A to treat audiences to behind-the-scenes details about the making of the series and a first look of the action-packed, coming-of-age adventure that explores identity, culture and family while introducing Western audiences to popular Chinese mythological characters. Talent will be announced at a later date.
“Chainsaw Man”
October 7, 2022, 12:45 PM – 1:45 PM
Empire Stage
Calling all Devil Hunters! Join Crunchyroll for a Chainsaw Man panel with the English dub cast that will have you totally revved up and ready for the upcoming hit anime! Featuring a conversation with the voice actors for Denji, Makima, Aki, and Power, as well as the exclusive U.S. premiere of the first episode dubbed!
“The Mysterious Benedict Society”
October 7, 2022, 2 PM – 3 PM
Main Stage
“The Mysterious Benedict Society” is coming back to Disney+ for season two!! Join our series stars, Tony Hale, Kristen Schaal, Mystic Incho, Seth Carr, Emmy DeOliveira and Marta Kessler along with executive producers and writers Phil Hay (creator), Matt Manfredi (creator), Darren Swimmer (showrunner) and Todd Slavkin (showrunner) as they talk about all the adventures coming up this season along with an exclusive sneak-peek screening of the season two premiere episode!
“Chucky”
https://www.youtube.com/watch?v=HGabHm_xjPs
October 7, 2022, 2:30 PM – 3:30 PM
Empire Stage
Your friend ’till the end is back with a vengeance, ready to add new and returning favorites to his kill list! Chucky creator Don Mancini is joined by series cast members Jennifer Tilly (Tiffany Valentine), Zackary Arthur (Jake Wheeler), and other surprise guests to answer your burning questions and give you an exclusive sneak peek of the new season’s second episode before it airs on October 12. “Chucky” airs Wednesdays at 9PM on USA & SYFY.
“The Wheel of Time” and “The Lord of the Rings: The Rings of Power”
October 7, 2022, 4:15 PM – 6:15 PM
Empire Stage
Prime Video presents a dream programming block for the fantasy fan, when “The Wheel of Time” and “The Lord of the Rings: The Rings of Power” take to New York Comic Con’s Empire Stage for back-to-back panels with series talent from each show. Following their season-long adventure that culminated in a showdown with The Dark One and the shocking reveal of The Dragon Reborn’s identity, the cast and creative team behind “The Wheel of Time” will assemble in New York for their first in-person Comic Con. Join series stars and showrunner Rafe Judkins as they reflect back on their Season One journey, both on and off screen, as well as drop a few hints of what audiences can anticipate from the hotly anticipated second season.
Join members of the cast from the Prime Video Original series “The Lord of The Rings: The Rings of Power” for an in-depth panel discussion about the first seven episodes of this groundbreaking series. Based on J.R.R Tolkien’s Second Age and beginning in a time of relative peace, “The Rings of Power” follows an ensemble cast of characters as they confront the reemergence of evil to Middle-Earth. Fans can get ready for some fun behind-the-scenes stories, hints about the long-awaited season finale, and a few surprises along the way.
“Reginald the Vampire”
October 7, 2022, 4:30 PM – 5:30 PM
Room 405
Sink your teeth into SYFY’s newest series “Reginald the Vampire!” Join star and co-EP, Jacob Batalon, in a moderated conversation with fellow cast and creators, Em Haine, Savannah Basley, Harley Peyton, and Jeremiah Chechik. And catch an exclusive, extended sneak peek of the series’ second episode before it airs on October 12th.
“Let the Right One In”
October 7, 2022, 8:30 PM – 9:30 PM
Room 405
Starring Oscar nominee Demián Bichir (“A Better Life”) and rising star Madison Taylor Baez, “Let te Right One In” centers on Mark Kane (Bichir) and his daughter Eleanor Kane (Baez) whose lives were changed forever 10 years earlier when she was turned into a vampire. Locked in at age 12, perhaps forever, Eleanor lives a closed-in life, able to go out only at night, while her father does his best to provide her with the human blood she needs to stay alive. The series also stars Tony winner Anika Noni Rose (Dreamgirls, Power), Grace Gummer (Mr. Robot), Kevin Carroll (“Snowfall”), Ian Foreman (“Merry Wish-Mas”), Jacob Buster (“Colony”) and Nick Stahl (“Fear the Walking Dead”). With these emotionally charged and terrifying ingredients as a starting point, “Let te Right One In” will upend genre expectations, turning a naturalistic lens on human frailty, strength and compassion.
“Oddballs”
October 8, 2022, 10:30 AM – 11:30 AM
Room 406.2
The brand new animated series Oddballs is premiering this fall on Netflix. Oddballs is based on the YouTube channel Odd1sOut with over 18 million subscribers. The show was recently announced on the Odd1sOut YouTube channel and has earned over 6.5 million views in less than 2 weeks. James Rallison the creator of Odd1sOut and Oddballs will be in attendance along with key crew and cast members (TBA) to answer questions and share behind the scene stories about the making of the series.
“Peripheral”
October 8, 2022, 11 AM – 12 PM
Main Stage
Immerse yourself in the world of “The Peripheral”! Join series stars Chloë Grace Moretz, Jack Reynor, Gary Carr, T’Nia Miller, and JJ Feild, as well as executive producers Lisa Joy and Jonathan Nolan, creator and showrunner Scott B. Smith, and director Vincenzo Natali, as they give fans a first look at sci-fi thriller The Peripheral. The series centers on Flynne Fisher (Moretz), a woman trying to hold together the pieces of her broken family in a forgotten corner of tomorrow’s America. Flynne is smart, ambitious, and doomed. She has no future; until the future comes calling for her. “The Peripheral” is based on William Gibson’s best-selling novel of the same name, and gives viewers a hallucinatory glimpse into the fate of mankind—and what lies beyond.
“Smallville” Cast Reunion
October 8, 2022, 12:30 PM – 1:30 PM
Main Stage
Over 20 years ago, Smallville, the groundbreaking superhero drama, hit television. Join Tom Welling (Clark Kent), Erica Durance (Lois Lane), Kristin Kreuk (Lana Lang) and John Glover (Lionel Kent) as they reflect on the shows history and answer fan questions!
“My Hero Academia”
October 8, 2022, 12:30 PM – 1:30 PM
Empire Stage
Join “My Hero Academia” cast members to discuss the highly anticipated new season. Featuring Justin Briner, the English voice of Deku, and more.
“Shadow and Bone”
October 8, 2022, 2 PM – 3 PM
Main Stage
Join Amita Suman, Freddy Carter, Kit Young, and Ben Barnes as they sit down with author Leigh Bardugo to reflect on playing iconic roles from her fantasy series.
“The Dragon Prince”
October 8, 2022, 3 PM – 4 PM
Room 406.2
“The Dragon Prince” saga returns to Netflix this November! Join the cast, crew, and creators of the Emmy® Award-winning series as they dive deep into what’s next for the world of Xadia. Learn more about what challenges await our characters, ask our panelists your most need-to-know-questions, and be the first to watch never-before-seen footage from Season 4!
“Manifest”
October 8, 2022, 3:45 PM – 4:45 PM
Room 401
Creator Jeff Rake and cast of “Manifest” discuss the hit series and what to expect from the epic fourth and final season.
“Star Trek” Universe
October 8, 2022, 4 PM – 5:30 PM
Empire Stage
The fan-favorite Star Trek universe panel returns to New York Comic Con, featuring conversations with the cast and executive producers “Star Trek: Picard” and the hit animated series “Star Trek: Prodigy.” “Star Trek: Picard” returns for its third and final season with the iconic Patrick Stewart, Jonathan Frakes, LeVar Burton, Gates McFadden, Brent Spiner, Marina Sirtis and Michael Dorn, as well as Executive Producers Alex Kurtzman, Rod Roddenberry and Terry Matalas. “Star Trek: Prodigy” returns to the NYCC stage this year with the talented voice cast including Kate Mulgrew, Ella Purnell, Brett Gray and Jameela Jamil, alongside Executive Producers Alex Kurtzman, Rod Roddenberry, Kevin Hageman, Dan Hageman and Ben Hibon as they discuss what’s ahead.
“The Walking Dead”
October 8, 2022, 5 PM – 6 PM
Main Stage
Cast and creatives of the flagship series “The Walking Dead” discuss the highly anticipated last episodes of the decade-long apocalyptic drama. Celebrate the monumental journey of this beloved series and characters as we follow their arcs in the recently launched final eight episodes of this epic final season on AMC and AMC+. Plus, a look at what is to come for the upcoming final episodes.
Marvel’s Moon Girl and Devil Dinosaur
October 8, 2022, 5:30 PM – 6:30 PM
Room 405
Moon Girl Magic! Join the cast and creative team behind Disney Branded Television’s highly anticipated animated series “Marvel’s Moon Girl and Devil Dinosaur,” ahead of its 2023 premiere on Disney Channel and Disney+, for a conversation about this innovative action-comedy series centered on African American teen girl superhero Lunella Lafayette (aka Moon Girl) and her 10-ton T-Rex, Devil Dinosaur. Panelists include Diamond White (voice of Lunella/Moon Girl), Fred Tatasciore (voice of Devil Dinosaur), Gary Anthony Williams (voice of Pops, Lunella’s grandfather), Steve Loter (executive producer), Rodney Clouden (supervising producer) and Pilar Flynn (producer), moderated by Allegra Frank, deputy entertainment editor, The Daily Beast.
“Wednesday”
October 8, 2022, 7:45 PM – 8:45 PM
Empire Stage
Darkness descends on New York Comic Con in the form of the iconic Wednesday Addams. Join the cast of Netflix’s upcoming sleuthing, supernaturally infused mystery series “Wednesday,” including breakout star Jenna Ortega, Luis Guzmán and showrunners Alfred Gough and Miles Millar and more for an action-packed panel that promises many creepy and kooky surprises!
“Outlander”
October 9, 2022, 10:30 AM – 11:30 AM
Empire Stage
Calling all Outlander fans! This is one you don’t want to miss! Kick off Sunday morning at New York Comic Con with a trip to the Scottish highlands. Join series stars Sam Heughan (Jamie Fraser), Duncan LaCroix (Murtaugh Fraser) and David Berry (Lord John Grey) along with series author Diana Gabaldon as they discuss their time working on such a beloved show and all things Outlander!
“The Muppets Mayhem”
October 9, 2022, 11 AM – 12 PM
Main Stage
It’s time to play the music! Coming to Disney+ in 2023, “The Muppets Mayhem” is a brand-new series that, for the first time in the Muppets’ over 65-year history, focuses on the legendary Electric Mayhem band as they maneuver their way through the music world of Los Angeles with one goal – to finally record their first album. Join the “human” stars of the series – Lilly Singh, Tahj Mowry and Saara Chaudry – as well as co-creators and executive producers Adam F. Goldberg, Jeff Yorkes and Bill Barretta for exciting news, exclusive footage and more!
“Batwheels”
Sun, October 9, 2022, 11 AM – 12 PM
Room 401
The newest heroes of Gotham City are rolling into New York Comic Con for a special panel and screening featuring the premiere of two never-before-seen episodes of Batwheels. Join series producers and members of the voice cast for a look under the hood of DC’s first-ever Batman preschool animated series coming soon to Cartoonito on Cartoon Network and Cartoonito on HBO Max.
“Transformers: EarthSpark”
October 9, 2022, 12 PM – 1 PM
Room 405
Autobots, Roll Out! From Nickelodeon and Hasbro’s Entertainment One, join the next generation of heroes to celebrate the all-new Paramount+ original animated series “Transformers: EarthSpark.” During the exclusive panel, voice cast members Sydney Mikayla (Robby Malto), Zion Broadnax (Mo Malto), Diedrich Bader (Mandroid) and Cissy Jones (Elita-1), along with co-executive producer Dale Malinowski and executive producer Ant Ward, will give fans a first look at behind-the-scenes art, casting, and never-before-seen footage. Moderated by: Andrea Towers, Associate Editor, TV Guide Magazine.
“The Winchesters”
https://www.youtube.com/watch?v=fee2fEjK0cM
October 9, 2022, 2 PM – 3:15 PM
Empire Stage
Before Sam and Dean, there were their parents, John and Mary. Told from the perspective of narrator Dean Winchester, the Supernatural prequel series is the epic, untold love story of how John Winchester and Mary Campbell met, fell in love, and started a demon-hunting family on their own. Join members of the cast and producers for a screening of the pilot, followed by a Q&A. “The Winchesters” is from executive producers Robbie Thompson (“Supernatural,” “Cursed”), Jensen Ackles (“Supernatural,” “The Boys”), Danneel Ackles (“Supernatural”), and David H. Goodman (Once Upon a Time, Fringe). The cast includes Meg Donnelly (American Housewife, Z-O-M-B-I-E-S), Drake Rodger (The In Between), Nida Khurshid (For the People), Jonathan “JoJo” Fleites, Demetria Kinney (“Tyler Perry’s House of Payne,” “Motherland: Fort Salem”), Bianca Kajlich (“Dawson’s Creek,” “Legacies”) and Jensen Ackles (“Supernatural,” “The Boys”). Glen Winter (“Arrow,” “Doom Patrol,” “Titans”) directed the pilot, for which he also served as executive producer. “The Winchesters” premieres October 11, airing Tuesdays at 8/7c on The CW, and is produced by Chaos Machine Productions in association with Warner Bros. Television and CBS Studios.
Cartoon Network/Adult Swim
October 9, 2022, 12:30 PM – 1:30 PM
Main Stage
Cartoon Network and Adult Swim have dominated the animation space for decades, creating millions of fans along the way. Sit down with legendary creator Genndy Tartakovsky, who grew his career at Cartoon Network and expanded Adult Swim’s slate with his Emmy® Award-winning series “Genndy Tartakovsky’s Primal” and upcoming launch of “Unicorn: Warriors Eternal.” Also joining the conversation is Michael Ouweleen, president of Adult Swim, Cartoon Network, and Boomerang, who helped define these animation powerhouses from the beginning. Together the two will discuss then, now, and next. What does it mean to ignite audiences, cultivate nostalgia, and innovate in an evolving animated landscape? Find out what’s in store for animation lovers of all ages as Cartoon Network reflects on the last three decades and Adult Swim continues to celebrate the surreal and defy expectations. Also, join us for the first U.S. premiere screening of “Unicorn: Warriors Eternal.”
SpongeBob Squarepants Presents “The Tidal Zone”
October 9, 2022, 2 PM – 3 PM
Main Stage
Panelists: Tom Kenny, Bill Fagerbakke, Jill Talley, Dana Snyder, Marc Ceccarelli and Vincent Waller.
“Fuuto PI”
Sun, October 9, 2022, 12:15 PM – 1:15 PM
Room 401
Join Team Kamen Rider as we discuss Fuuto PI! After the panel be sure to stay for the special screening of finale before it airs in the US.
“Kindred”
October 9, 2022, 3 PM – 4 PM
Room 405
Octavia Butler fans rejoice!! FX is bringing “Kindred,” its newest drama series, to New York Comic-Con. Based on Hugo Award-winning author Octavia E. Butler’s wildly popular novel of the same name, “Kindred” is the very first adaption of a book by Ms. Butler to be produced for television or film. Join executive producer/writer Branden Jacobs-Jenkins with cast members Mallori Johnson, Micah Stock, Gayle Rankin, Austin Smith, Sophina Brown and Sheria Irving for a Q&A sharing how this visionary, fan-favorite story has been brought to life, and be among the first to see footage from the series ahead of its fall premiere exclusively on Hulu. “Kindred” centers on Dana, a young Black woman and aspiring writer who uproots her NYC life of familial obligation to claim a future in Los Angeles that, for once, feels all her own. But, before she can get settled into her new home, she finds herself being violently pulled back and forth in time to a 19th century plantation with which she and her family are surprisingly and intimately linked.
“Doom Patrol” and “Titans”
https://www.youtube.com/watch?v=kuUFOmvyKo4
October 9, 2022, 3:30 PM – 5 PM
Main Stage
The fan-favorite DC series make their New York Comic Con debut, featuring a main stage conversation with the cast of “Doom Patrol,” followed by a conversation with “Titans” executive producer and cast. In the upcoming fourth season of “Doom Patrol,” the team unexpectedly travels to the future to find an unwelcome surprise. Faced with their imminent demise, the Doom Patrol must decide once and for all which is more important: their own happiness or the fate of the world? Join series stars Brendan Fraser, April Bowlby, Joivan Wade, and Michelle Gomez for an exclusive discussion and first look of the upcoming season. The panel will be moderated by Andy Swift (TVLine). “Titans,” debuting its fourth season this November on HBO Max, finds the team having saved Gotham, and hitting the road to head back to San Francisco. But after a stop in Metropolis, they find themselves in the crosshairs of a supernatural cult with powers unlike anything they’ve faced before. Join showrunner and executive producer Greg Walker and series star Brenton Thwaites, Ryan Potter, and Joshua Orpin, for a preview of the upcoming season, including first looks, exclusive reveals, and more. The panel will be moderated by Damian Holbrook (TV Guide Magazine).
MOVIE PANELS
(All panel descriptions are courtesy of New York Comic Con.)
“Significant Other”
October 6, 2022, 6:30 PM – 8:30 PM
Room 401
Panel with the cast and creators of the high concept thriller “Significant Other.” Starring Jake Lacy (“The White Lotus”) and Maika Monroe (“It Follows”) with directors/writers Dan Berk and Robert Olsen (“Villains,” “Body”).
“Aqua Teen Forever: Plantasm”
October 6, 2022, 8:30 PM – TBA
Main Stage
Be among the first to experience the all-new mystery-adventure feature-length film based on the famed Adult Swim series when Warner Bros. Home Entertainment presents the World Premiere of “Aqua Teen Forever: Plantasm.” The R-rated film features everyone’s favorite rascals, the Aqua Teens: the brainy Frylock, the mouthy Master Shake, the loveable Meatwad, and everyone’s favorite perverted neighbor, Carl, as they split up then get back together to fight everyone’s favorite corporate overlord, Amazin, led by everyone’s favorite tech mogul, Neil and his trusty scientist sidekick, Elmer. In addition to the screening, filmmakers and key cast members will hold a panel discussion, including audience Q&A. Carey Means (“Aqua Teen Hunger Force,” “The Brak Show”), Dana Snyder (Aqua Teen Hunger Force, Squidbillies) and Dave Willis (“Squidbillies,” “Your Pretty Face Is Going to Hell”) return as the voices of Frylock, Master Shake and Meatwad, respectively. The film also stars Peter Serafinowicz (“The Tick”), Paul Walter Hauser (“Black Bird”), Natasha Rothwell (“The White Lotus”), Robert Smigel (“Bob’s Burgers”) and Tim Robinson (“Detroiters)”. The movie was written and directed by series creators Dave Willis and Matt Maiellaro and produced by Williams Street Productions. “Aqua Teen Forever: Plantasm” will be available on Digital, 4K Ultra HD and Blu-ray starting November 8, 2022.
“Batman and Superman: Battle of the Super Sons”
October 7, 2022, 3:30 PM – 5:30 PM
Main Stage
Witness the unveiling of Warner Bros. Animation’s first-ever all-CG animated, feature-length film when Warner Bros. Home Entertainment presents the World Premiere of “Batman and Superman: Battle of the Super Sons.” Ahhhh, to be young…and charged with saving the world from impending doom! That’s the burden that 11-year-old Jonathan Kent and reluctant young sidekick Damian Wayne face in this all-new DC Animated Movie. On his birthday, Jonathan Kent learns his dad is Superman and that he has latent superpowers of his own! He also meets the legendary Dark Knight and current Boy Wonder, Damian. But when the two boys are forced to team up to protect their loved ones from a hostile alien force, will they become the Super Sons they’re destined to be? Following the screening, filmmakers and key cast members will hold a panel discussion, including audience Q&A. Jack Dylan Glazer (“Shazam!,” “Luca,” “It”) and Jack Griffo (“The Thundermans”) lead the voice cast as Jonathan Kent and Damian Wayne, respectively, and the supporting cast features Troy Baker (“The Last of Us,” “Batman: The Long Halloween”) as Batman/Bruce Wayne, Travis Willingham (“Critical Role,” “Sofia The First”) as Superman/Clark Kent, and Laura Bailey (“The Legend of Vox Machina,” “Naruto: Shippûden”) as Lois Lane. Matt Peters (“Justice League Dark: Apokolips War”) directs Batman and Superman: Battle of the Super Sons from a script penned by Jeremy Adams (“Mortal Kombat Legends” franchise). Supervising Producer is Rick Morales (“Injustice,” “Batman: Return of the Caped Crusaders”). “Batman and Superman: Battle of the Super Sons” will be available on 4K Ultra HD Blu-ray Combo Pack, Blu-ray and Digital starting October 18, 2022.
“Trick or Treat Scooby-Doo!”
October 7, 2022, 4:45 PM – 6:45 PM
Room 401
Don your Halloween costume, and celebrate the spooky season with Scooby and the Mystery Inc. crew! Join us for an exclusive Scoobtober treat (no tricks, we promise) – the premiere screening of the all-new animated adventure, “Trick or Treat Scooby-Doo!” Enjoy games, goodies, giveaways and more!
“Teen Wolf: The Movie”
October 7, 2022, 6 PM – 7 PM
Main Stage
The wolves return to Comic Con with “Teen Wolf: The Movie” and Wolf Pack creator Jeff Davis joining back-to-back conversations with the film and series’ casts to discuss the upcoming movie and tease what to anticipate from the new series.
“Violent Night”
October 7, 2022, 7 PM – 9:15 PM
Empire Stage
NYCC attendees will be the first audience in the world to see “Violent Night,” the new coal-dark holiday thriller from 87North, the bare-knuckle producers of “Nobody,” “John Wick,” “Atomic Blonde” and “Deadpool 2” and razor-edged director Tommy Wirkola (“Dead Snow” franchise). When a team of mercenaries breaks into a wealthy family compound on Christmas Eve, taking everyone inside hostage, the team isn’t prepared for a surprise combatant: Santa Claus (David Harbour, “Black Widow,” “Stranger Things” series) is on the grounds, and he’s about to show why this Nick is no saint. Please note “Violent Night” is rated R.
“V/H/S/99”
October 7, 2022, 7:15 PM – 8:15 PM
Room 401
On the heels of last year’s record breaking “V/H/S/94,” the Shudder Original Film “V/H/S/99” is the latest feature in the hit found footage anthology franchise, “V/H/S.” Join the directors and producers for an in depth discussion on all things “V/H/S,” the epic last year of the 90s, and what’s sure to be the biggest, baddest, and most wildly savage film in the franchise yet! The fifth installment in the hit horror V/H/S anthology franchise, “V/H/S/99” debuts Thursday, October 20 only on SHUDDER. “V/H/S/99” harkens back to the final punk rock analog days of VHS, while taking one giant leap forward into the hellish new millennium. In “V/H/S/99,” a thirsty teenager’s home video leads to a series of horrifying revelations.
“Mortal Kombat Legends: Snow Blind”
October 8, 2022, 3:30 PM – 4:30 PM
Main Stage
Warner Bros. Home Entertainment marks the 30th anniversary of the blockbuster “Mortal Kombat” video game series with an inside look at the making of “Mortal Kombat Legends: Snow Blind,” the third in a series of MK-inspired feature-length animated films. Mortal Kombat Legends: Snow Blind finds vicious, power-mad Kano determined to take over Earthrealm, one soul at a time. Assisted by a trio of cold Black Dragon mercenaries, he embarks on a brutal assault from town to defenseless town. The choice is simple: kneel or be annihilated. But when the cocky and talented but undisciplined Kenshi doesn’t take a knee, Kano and his clan destroy the young warrior, taking his eyesight and his confidence. Under the tutelage of reluctant, retired Kuai Liang, the only one powerful enough to challenge the malevolent Kano, Kenshi finds renewed hope and a clear path to redemption. But will it be enough to stop Kano from decimating all of Earthrealm? The presentation will include thrilling film clips and an entertaining panel discussion amongst filmmakers and key cast members. Manny Jacinto (“Top Gun: Maverick,” “The Good Place”), David Wenham (“Elvis,” “300,” “The Lord of the Rings” franchise) and Ron Yuan (“Mortal Kombat 11,” “Mulan”) spearhead a terrific voice cast as Kenshi Takahashi, Kano and Kuai Liang, respectively. The film is produced and directed by Rick Morales (“Mortal Kombat Legends” franchise, “Injustice”) from a script by Jeremy Adams (“Supernatural,” “Justice Society: World War II”), who also wrote the screenplays for the series’ first two films. Produced by Warner Bros. Animation in coordination with NetherRealm Studios and Warner Bros. Games, “Mortal Kombat Legends: Snow Blind” arrives from Warner Bros. Home Entertainment on Digital on October 9, 2022, and on 4K Ultra HD Combo Pack and Blu-ray on October 11, 2022.
“Wendell & Wild”
October 8, 2022, 5:15 PM – 6:15 PM
Room 401
Panel descripton to be announced for this animated film that reunites Keegan-Michael Key and Jordan Peele.
Jamie Lee Curtis: Tribute to 45 years of “Halloween” and Laurie Strode
October 8, 2022, 6:15 PM – 7 PM
Empire Stage
n Halloween Ends (in theaters and streaming exclusively on Peacock Oct 14), icon Jamie Lee Curtis returns for the last time as Laurie Strode, horror’s first “final girl” and the role that launched Curtis’ career. Now, in this exclusive NYCC panel, moderated by fellow film icon Drew Barrymore, host and executive producer of “The Drew Barrymore Show, “the legendary Curtis discusses Laurie’s journey and her own from 1978’s “Halloween” to Laurie’s last stand against Michael Myers in this October’s “Halloween Ends.” Join us for an intimate, funny and fearless conversation with an artist who, for more than four decades, has shattered the rules (and the record books) and has reshaped horror forever as she says goodbye to one of the most beloved and revered characters in cinema history. Now, in this exclusive NYCC panel, the legendary Curtis discusses Laurie’s journey and her own from 1978’s Halloween to Laurie’s last stand against Michael Myers in this October’s “Halloween Ends.” Join us for an intimate, funny and fearless conversation with an artist who, for more than four decades, has shattered the rules (and the record books) and has reshaped horror forever as she says goodbye to one of the most beloved and revered characters in cinema history.
“Back to the Future” Reunion
October 8, 2022, 6:30 PM – 7:30 PM
Main Stage
Gotta get back in time! The stars of the mega popular “Back to the Future” franchise are hitting the stage at New York Comic Con for a once-in-a-lifetime panel. Hop in your Delorean and head over to the Main Stage for a can’t miss Q&A. Limited reservations will be available for NYCC badge holders.
“Weird: The Al Yankovic Story”
October 9, 2022, 4 PM – 5 PM
Empire Stage
Come join the all-star cast and director of “Weird: The Al Yankovic Story.” A Roku Original film streaming free on The Roku Channel this November 4. MTV & Comedy Central’s Josh Horowitz will join Daniel Radcliffe, Evan Rachel Wood, and director Eric Appel onstage, and the legendary man himself, “Weird” Al Yankovic, will join virtually to take us behind-the-scenes in an exclusive panel about the filming of this outrageously epic biopic.
Culture Representation: Taking place in New York and briefly in Provincetown, Massachusetts, the comedy film “Bros” features a cast of predominantly white characters (with some African Americans, Asians and Latinos) representing the working-class, middle-class and wealthy.
Culture Clash: An openly gay podcaster/writer, who is very cynical about finding love, begins a new job as executive director of a museum for LGBTQ+ history and culture, around the same time that he finds himself falling in love with a man whom he thinks isn’t his “type.”
Culture Audience: “Bros” will appeal primarily to people interested in well-written, adult-oriented romantic comedies from a gay, cisgender male perspective.
Pictured clockwise, from left: Ts Madison, Billy Eichner, Miss Lawrence, Eve Lindley, Jim Rash and Dot-Marie Jones in “Bros” (Photo by Nicole Rivelli/Universal Pictures)
Blending real talk about relationships, some hilarious sex scenes, and a sweet-natured romance at the heart of the story, “Bros” is a romantic comedy that has Billy Eichner’s boldly sarcastic style written all over it. It’s made for open-minded adults. It also helps if people know a lot of about pop culture and LGBTQ (lesbian, gay, bisexual, transgender, queer) history to understand many of the jokes in the movie. “Bros” had its world premiere at the 2022 Toronto International Film Festival.
Directed by Nicholas Stoller (who co-wrote the “Bros” screenplay with Eichner), “Bros” is a history-making film because it’s the first major studio movie in wide release with a majority LGBTQ+ cast and co-written by an openly gay man. Considering that it took this long for this cinematic milestone to happen, “Bros” is a triumph and an instant classic LGBTQ movie. Just because the movie centers on a gay man and his love life, that doesn’t mean this movie is only for LGBTQ people. However, “Bros” definitely earns its Motion Pictures of America Association rating recommendation for people ages 17 and up, because of the movie’s sexual content, adult language and drug use. As the saying goes, “Viewer discretion is advised.”
In “Bros,” Eichner portrays 40-year-old Bobby Leiber, an openly gay podcaster/writer who is famous enough to be on the cover of The Advocate magazine. Bobby has an unapologetically activist attitude when it comes to advocating for LGBTQ rights and speaking out against homophobia. Eichner has said in interviews that some of Bobby’s personality and life are inspired by Eichner’s own real-life experiences, but “Bros” is not an autobiographical film.
Bobby is also very aware that as a cisgender white man, he gets more privileges than LGBTQ people who aren’t cisgender white men. The movie opens with Bobby making an episode of his podcast “The 11th Brick at Stonewall.” It’s in reference to the 1969 Stonewall uprising in New York City that is considered a turning point in the LGBTQ civil rights movement. The uprising happened as a way for LGBTQ people to show that they were fed up with homophobic arrests and harassment from police, and they fought back in groups against the police. Throwing bricks was part of this Stonewall uprising.
It’s an example of why “Bros” viewers need to know about this brick throwing and Stonewall to understand why Bobby makes this comment about why he named his podcast “The 11th Brick at Stonewall,” and why Bobby knows how LGBTQ history, just like heterosexual-oriented history, tends to erase the contributions of people who aren’t white men: “Because we all know a butch lesbian or a trans woman of color probably threw the first brick at Stonewall, but it was a cis white gay man who threw the 11th brick,” Bobby says. Later in the movie, Bobby points out how transgender female activists Marsha P. Johnson and Sylvia Rivera were the real heroes of the Stonewall uprising but often don’t get the credit for it because Johnson and Rivera were transgender women of color.
Bobby is a bachelor who says he’s never been in love and has never dated anyone for more than three months. He’s very cynical about the possibility of ending up with a soul mate, and he doesn’t really believe that monogamy works for him. Other than feeling unlucky when it comes to romantic love, Bobby is happy with his life because he’s healthy, and his friends and his work keep him fulfilled.
Bobby, who has no siblings, was born and raised in New York City. He was raised Jewish, but he is not particularly religious or spiritual. His mother died when Bobby was in college, and his father died when Bobby was 10 years old. In “Bros,” no other biological family members of Bobby are shown. Like many gay people, Bobby has a “chosen family” that is a tight-knit circle of friends, most of whom are also LGBTQ.
The first 15 minutes of “Bros” show that Bobby has been trying to branch out in his career besides doing his podcast. During his podcast, when a caller asks Bobby, if he’s going to write any more books, Bobby talks about his failed career as a children’s book author. His children’s book “Are You There, God? It’s Martina Navratilova” was a flop. Bobby sarcastically says, “Hey, parents, thanks for teaching kids about Santa Claus—a straight man who doesn’t exist—and not about Martina Navratilova, a lesbian who does.”
Bobby also tells his audience that on his social media, he uploaded an outtake from his failed “Queer Eye” audition, where he was trying out to be one of the co-hosts of this Emmy-winning Netflix series about gay men who give life makeovers to people whose lives are stuck in a rut. “Bros” shows this “outtake” clip of Bobby looking unimpressed, while the “Queer Eye” hosts (actors portraying the real hosts) are nearby crying over the makeover they’ve just completed for a man with a sob story. Bobby deadpans, “I’m sorry, this isn’t sad. You gave him a haircut and a pair of pants.”
Bobby has also tried to become a movie screenwriter, with mixed results. “Bros” shows a brief flashback of Bobby in a meeting with an unnamed Hollywood executive (played by Doug Trapp), who wants Bobby to write a gay romantic comedy movie. The executive says, “We just want to make a movie that shows the world that gay relationships are the same [as straight relationships]. Love is love is love.”
An offended Bobby then goes on a rant and says that “Love is love is love” was a “lie” invented by LGBTQ people just to get more acceptance from heterosexual people. Bobby then lectures the executive by saying that dating for LGBTQ people is very different from dating for heterosexual people. And before Bobby ends the meeting by storming out, Bobby says that not all gay people are smart or nice.
To his podcast audience, Bobby opens up about how lonely his love life can be and how he usually has meaningless sexual encounters with men he meets on dating apps such as Grindr. Although Bobby says it doesn’t really bother him that he’s perpetually single and often alone, you can tell it really does bother him. He sighs with an air of resignation, “I’m not the right person to write a rom-com anyway.”
Things are looking up for Bobby in his career though. At the LGBTQ+ Pride Awards (where Bobby is a presenter, and which features actress/LGBTQ ally Kristin Chenoweth as herself in a cameo), Bobby announces that he’s been named executive director of the National Museum of LGBTQ+ History and Culture. Bobby will be the first executive director of this non-profit museum, which will open in New York City sometime in less than a year, after the museum’s grand opening was postponed multiple times already. His job includes fundraising and making decisions about the museum’s exhibits. Bobby will continue to be a podcaster, but the museum is now his main job.
Not long after sharing this big news, Bobby attends a launch party for a gay dating app called Zellweger, which is for men who want to sexually hook up with each other and talk about famous actresses. Bobby’s friend Henry (played by Guy Branum) works for Zellweger and has invited Bobby to this party, which is at a nightclub filled with shirtless and good-looking men dancing with each other. It’s at this party that Bobby meets Aaron Shepard (played by Luke Macfarlane), who is one of the shirtless, good-looking men.
Bobby and Aaron (who is in his early 40s) strike up a casual and mildly flirtatious conversation. Within the first few minutes, it’s obvious that Aaron is not the type of guy whom Bobby is usually attracted to on an intellectual or emotional level. For starters, Bobby is disappointed that Aaron doesn’t recognize a Mariah Carey remix song that’s playing at the party. Aaron says he prefers country music, and his favorite artist is Garth Brooks. Bobby is not a fan of country music.
Aaron also works in probate law as an estate planner. In other words, he helps people write their wills. Bobby thinks it’s a stuffy and boring corporate job. Bobby prefers to date men whom he thinks has more exciting lives than the type of life that Aaron seems to have. Bobby is a motormouth, while Aaron is a lot less talkative. Still, Bobby and Aaron seem to share the same sarcastic sense of humor, and they make each other laugh.
Bobby also finds out that Aaron isn’t quite as dull and uptight as Bobby thought he was on first impression. Aaron points out two shirtless men (played by Keith Milkie and Alex Ringler) on the dance floor. Aaron tells Bobby that the two men are a couple, and Aaron has a date to have sex with both of them after the party.
In “Bros,” hookup culture (which includes a lot of group sex) is explicitly depicted as a fact of life for many single (and sometimes married) gay/queer men. It’s the type of reality that Bobby says should be discussed more openly and honestly when people talk about the LGBTQ community to heterosexual people. “Bros” also has a scene of poppers (a drug that’s inhaled) being used during sexual activity. If you don’t know how common it is for gay men to use poppers, then “Bros” aims to enlighten viewers.
As much as Bobby doesn’t think he’s attracted to Aaron, Bobby gets annoyed when Aaron seems to give him the brushoff at the party. Bobby and Aaron tell each other that they’re not looking for a serious relationship, but Bobby is less willing than Aaron to play it cool. Bobby also sends mixed messages to Aaron. During their first meeting, Bobby insults Aaron by telling him that he heard that Aaron is “boring,” but Bobby still expects Aaron to be charmed enough by Bobby to pursue a romantic relationship with Bobby.
Of course, Bobby and Aaron end up dating each other, but they both struggle with trying to define their relationship and how “committed” they should be to each other. Describing each other as a “boyfriend” would be a big step for them. Throughout their relationship, Bobby is insecure that Aaron won’t find Bobby physically attractive enough, while Aaron is insecure that Bobby won’t find Aaron exciting enough.
“Bros” hits a lot of familiar beats that are often in heterosexual romantic comedies, where two single people start dating each other and try to figure out if the relationship is meant to last. There are jealousy issues, commitment issues and family acceptance issues. And there’s at least one big argument that leads to a turning point where the couple has to decide to break up or stay together. Thankfully, “Bros” does not have the treacly and over-used cliché of someone racing to an airport to confess true feelings, in order for the couple to be together.
“Bros” has a snappy and often-breezy tone that points out the nuances and diversity in the LGBTQ community. Bobby oversees a staff that exemplifies this diversity and how different agendas in the LGBTQ community often compete for priorities and have other conflicts. Staff meetings often turn into arguments where the staffers fight for museum exhibits that represent their particular sexual or gender identity.
The museum staffers include gender-fluid/gender-nonconforming Tamara (played by Miss Lawrence), butch lesbian Cherry (played by Dot-Marie Jones), bisexual man Robert (played by Jim Rash) and trangsender women Angela (played by Ts Madison) and Tamara (played by Eve Lindley). One of the staff arguments is about how to present a museum exhibit of 16th U.S. president Abraham Lincoln and his close companion Captain David Derickson, who wrote love letters to each other and slept in the same bed when first lady Mary Lincoln was away. Bobby feels strongly that the museum should describe Abraham Lincoln as a closeted gay man, while Robert insists that Abraham Lincoln was bisexual.
In addition to the drama about the museum exhibits, Bobby also has to contend with raising enough money to open the museum, which needs about $5 million in order to launch. These fundraising efforts lead to laugh-out-loud scenes with actress Debra Messing (playing a version of herself) and Bowen Yang (playing a gay and wealthy TV producer named Lawrence “Larry” Grape) as potentially major donors to the museum. Messing has a cameo in “Bros,” but it’s a truth-telling appearance where she lashes out about gay men thinking she’s the same as the Grace Adler character (a straight woman with a gay male best friend) that she portrayed in the sitcom “Will & Grace.”
Somehow, all of the scenes of Bobby and his job challenges aren’t a distraction from the main plot about Bobby and Aaron’s relationship. The movie is written in a way to show that what Bobby learns from his mistakes on the job and in his love life are intertwined and affect each other. Bobby is far from perfect: He can be stubborn, selfish and mean-spirited. But he’s also kind, generous and open to improving himself.
Aaron learns from Bobby about what it’s like to take bold risks in life, since Aaron tends to make decisions where he doesn’t have to go outside of his comfort zone. Aaron confides in Bobby that Aaron hates his job and has had a secret childhood dream to have another job, which is detailed in the movie. It’s at this point in the movie where you know what’s going to happen to Aaron’s childhood dream. Bobby also has a childhood dream that “Bros” handles in a heartwarming and sentimental way.
Aaron comes from a completely different world and upbringing than what Bobby has experienced. Aaron grew up in upstate New York with his married parents, including his schoolteacher mother Anne (played by Amanda Bearse), and older brother Jason (played by Jai Rodriguez), who know he is gay but don’t really like to discuss it openly. Bobby has been openly gay since he was an underage kid. Aaron came out as gay later in life, when Aaron was an adult. Aaron also grew up in a suburban area that is a lot more politically conservative than New York City.
But wait, there’s more: “Bros” has a love triangle subplot that doesn’t get too messy, even though this subplot wasn’t that necessary to put in the movie. The love triangle happens when Bobby and Aaron are on a date at a movie theater, and they happen to have a conversation with a former high school classmate of Aaron’s named Josh Evans (played by Ryan Faucett), who was on the school’s hockey team with Aaron. When they were students, Aaron was still in the closet about his sexuality, and he used to have a secret crush on Josh.
As the movie’s central couple, Eichner and Macfarlane have believable chemistry as two people in an “opposites attract” romance. Eichner gives a better and more natural-looking performance, in large part because he created the role for himself. Macfarlane has a few moments where his acting is stilted and seems forced, but overall his performance has a lot of affable charm. Macfarlane has previously starred in Hallmark Channel romantic movies. “Bros” pokes fun at a TV network called Hallheart (which is an obvious spoof of the real-life Hallmark Channel), which is depicted as being culturally late in having movies centered on LGBTQ people and trying to make up for it by having more LGBTQ-themed movies than ever before.
“Bros” has numerous supporting characters without overstuffing the movie and confusing viewers. Many of these supporting characters are in Bobby’s circle of friends, such as elderly Louis (played by Harvey Fierstein), who lives in Provincetown, Massachusetts (a popular vacation city for gay men). Louis lets Bobby and Aaron stay at his place when Bobby and Aaron are in Provincetown for Pride festivities. Bobby is also close with a gay couple named Peter (played by Peter Kim) and Paul (played by Justin Covington), who are dating a man named Marty (played by Symone), in a “throuple” relationship.
Other friends of Bobby’s are straight married couple Tina (played by Monica Raymund) and Edgar (played by Guillermo Diaz), who are progressive liberals. Tina and Edgar have two children named Hannah (played by Dahlia Rodriguez), who’s about 5 years old, and Brian (played by Derrick Delgado), who’s abut 8 years old. Tina and Edgar think that Brian might be gay, and they have no problem with it, but Tina and Edgar occasionally ask Bobby for thoughts on what he thinks a gay child needs from supportive parents. Bobby often confides in Tina about his love life.
With all of these characters and subplots, “Bros” has a total running time (115 minutes) that’s longer than a typical romantic comedy. The movie isn’t perfect, because it tends to ramble and get a little repetitive about how commitment-phobic Bobby and Aaron are. Still, the nearly two-hour runtime of “Bros” is worth it if people want to see a highly entertaining and witty romantic comedy, where the adult relationships aren’t toned down to present an unrealistic and sappy story.
Universal Pictures released “Bros” in U.S. cinemas on September 30, 2022.
Sam Nivola, Adam Driver, May Nivola, Greta Gerwig, Raffey Cassidy and Dean Moore or Henry Moore (pictured in front) in “White Noise” (Photo by Wilson Webb/Netflix)
Culture Representation: Taking place in Ohio, the comedy/drama film “White Noise” features a predominantly white cast of characters (with some African Americans) representing the working-class and middle-class.
Culture Clash: A college professor and his family begin to see life differently after a toxic pollution disaster forces residents in their area to evacuate and take shelter in public places.
Culture Audience: “White Noise” will appeal primarily to people who are fans of filmmaker Noah Baumbach; stars Adam Driver, Greta Gerwig, and Don Cheadle; and comedy/drama films with life-and-death themes.
Don Cheadle and Adam Driver in “White Noise” (Photo by Wilson Webb/Netflix)
With acerbic wit about life and death, “White Noise” memorably shows how a college professor and his family cope with an unexpected evacuation from a pollution disaster. In this well-acted but uneven comedy/drama, the real disaster is dishonesty in relationships. The movie covers both familiar and unfamiliar territory for writer/director/producer Noah Baumbach, whose speciality is making movies about neurotic, middle-class people who deal with problems that they usually bring on themselves.
“White Noise,” which is based on Don DeLillo’s 1985 novel of the same name, had its world premiere at the Venice International Film Festival in Italy and its North American premiere at the 2022 New York Film Festival in New York City. The “White Noise” movie is also set in the early-to-mid-1980s. Baumbach’s “White Noise” cinematic adaptation is quintessential Baumbach, with a talented cast who adeptly handle the verbose dialogue. In Baumbach’s movies, the characters tend to do an over-analysis of people and life, to great comedic effect.
What isn’t typical of Baumbach is for him direct a movie from an adapted screenplay. The previous movies that Baumbach has directed were from his own original screenplays. Baumbach also never done a disaster movie that will get some comparisons to the way that Steven Spielberg does disaster movies.
“White Noise” isn’t a big-budget blockbuster. However, “White Noise” does have some tense action sequences of people trying to find shelter in a disaster, in scenes that are very reminiscent of Spielberg’s 2005 version of “War of the Worlds.” There’s no outer-space alien invasion in “White Noise. The real disruption comes to members of a family who are forced to confront uncomfortable truths about themselves after they evacuate from their home during the disaster.
In “White Noise,” which takes place in an unnamed cities in Ohio, a college professor named Jack Gladney (played by Adam Driver) thinks he’s living a very safe and comfortable life where he has a lot of patriarchal control. Jack teaches the unusual subject of “advanced Nazism” at a learning institution that is never named in the movie, but is referred to as the College on the Hill. Jack usually thinks he’s the smartest person in the room at any given time (a personality trait of least one main character in a typical Baumbach film), so Jack tends to be overbearing and arrogant, but not to the point of being completely obnoxious.
Jack lives with his wife Babette (played by Greta Gerwig), who works as an activities director at a senior living center. Babette and Jack have a blended family that includes four children. Eldest child Heinrich (played by Sam Nivola), a son from Jack’s previous marriage, is about 16 years old and has a keen interest in science. The middle children are Babette’s two daughters from her previous marriage: Denise (played by Raffey Cassidy), who’s about 15 years old, and Steffie (played by May Nivola), who’s about 12 years old. Jack and Babette have a biological child together named Wilder (played by identical twins Henry Moore and Dean Moore), who’s about 4 years old.
The first third of the movie mostly shows how Jack interacts with people in his home and at work. At home, Jack and his very opinionated family frequently talk over each other and have simultaneous conversations with each other. Babette tends to be cheerful and optimistic. Jack tends to be stern and cynical. Mornings in the kitchen and dining room can be described as ordered chaos, as Heinrich, Denise and Steffie sometimes bicker, while their parents try to get everyone out of the house in time to go where they need to be.
At work, Jack takes pleasure in commanding the room with his in-depth lectures about Nazis. The movie never explains why Jack is so fascinated with Nazis (he does not endorse this hate group), but in his lectures, Jack drops hints that people need to study what the Nazis did so that atrocities like the Holocaust won’t happen again. As a history expert, Jack is profoundly awestuck by how quickly Adolf Hitler’s Nazi regime took over Europe and had far-reaching effects across the world.
Jack has a friendly rapport with his Murray Suskind (played by Don Cheadle), an entertainment industry professor at the same college. In the opening scene of “White Noise,” Murray is seen giving an enthusiastic lecture about the art of car crashes in American movies. He even goes as far to say that car crashes in American movies are superior than car crashes in European movies.
Murray tells his students that these cinematic car crashes are “a long tradition of American optimism” and “self-celebration.” Murray adds, “Look past the violence, I say, and there is a wonderful, brimming spirit of innocence and fun.” Murray’s lecture is the movie’s first indication that several of the movie’s characters are living in a safe bubble that’s about to be popped.
Murray greatly admires Jack’s lecture styling, so later in the movie, there’s an amusing scene where Jack (at Murray’s invitation) is a guest speaker in Murray’s classroom. The topic is about Elvis Presley, but Jack has been asked to give information showing how Presley and Hitler had many things in common. For example, Presley and Hitler both had fanatical followings and both were “mama’s boys” with domineering mothers.
This “Presley/Hitler” lecture starts off as a dual presentation, with Murray and Jack taking turns giving factoids about Presley and Hitler. But then, Jack shows his tendency of taking control of everything he does, and Jack ends up taking over the lecture and doing all the talking. Jack gets so worked-up and passionate in his speaking that he almost acts like a pastor preaching to a congregation.
Jack’s speech culminates with Jack getting a standing ovation from everyone else in the room, including a few other faculty members who stopped by to hear Jack speak in this class. One of these co-workers is a professor named Elliot Lasher (played by André Benjamin. also known as André 3000), who’s a mild-mannered eccentric who doesn’t do much in his scenes except smile and give words of encouragement to the people around him.
Jack’s ego certainly gets a boost from this standing ovation. But within the 24 hours, his world will come crashing down with an avalanche of insecurity, deceit and mistrust. It starts off when Denise tells Jack that, in the kitchen garbage can, she found an empty prescription pill bottle owned by Babette. The prescription label on the bottle says that it contained a drug called Dylar.
Denise is worried because she can’t find Dylar in any medical book. (Remember, this story takes place in the 1980s, before the Internet existed.) Jack acts like he isn’t too worried, but deep down, he’s concerned too because he didn’t know anything about this prescription. Jack doesn’t confront or ask Babette about this secret prescription right away.
But something about this deception must have triggered something in Jack, because he starts to have harrowing nightmares that seem real. For example, he has a vision of a Jack clone or alter ego climbing into bed with him and sleeping in the place on the bed where Denise usually sleeps. In one of these nightmares, this Jack “clone” almost get suffocated by a blanket by an unseen force.
Meanwhile, a truck carrying toxic chemicals crashes into a moving train when the truck driver is distracted by grabbing a bottle of liquor from a passenger seat. It results in a massive train wreck and an explosion that destroys the truck and sends toxic chemicals in the air. The smoke can be seen for miles away.
One of the people who sees this smoke is Heinrich, who looks at it from afar with his binoculars. Heinrich heard about the train wreck on the local TV news. And he’s afraid that the toxic chemicals could pollute the air and be disaster for the area residents. Henrich tells his parents that maybe they should temporarily evacuate if the smoke comes any closer.
At first, Jack and Babette (especially Jack) are dismissive of Heinrich’s concerns. Jack says that it’s unlikely that the family will be affected by the smoke, since it’s not windy outside at the moment. And when it does get windy, Jack says that wind tends to blow in the direction that’s the opposite of their house.
It turns out that Jack is very wrong about his assumptions. The TV news descriptions of this pollution goes from being described as “a black billowing cloud” to “the airborne toxic event.” Emergency officials are ordering local residents to evacuate. Still in denial, Jack and Babette don’t think it’s that big of a deal.
But their attitude quickly changes when they see their neighborhood become deserted, with fire trucks and other emergency vehicles racing everywhere. By the time the Gladney family members evacuate their home, they’re in a sheer panic. While driving in the family car to go to the nearest designated shelter, they encounter many obstacles, including a traffic jam.
The rest of “White Noise” shows how the family members bond together and fall apart in certain ways during this disaster. While in the car, Jack notices Babette put something in her mouth and quickly swallow it, so he asks her what she just swallowed. Babette says it was a piece of Life Savers candy, but Jack is doubtful. He begins to wonder if it was a pill of the mysterious drug Dylar.
“White Noise” shows in clever and sometimes oddly amusing ways how the problems that are exposed in the Gladney family are a microcosm of a larger society problem of people being lulled and sometimes programmed into a false sense of security. It comes out in subtle and not-so-subtle symbolism and conversations in the movie. The character of Jack embodies this dichtomy of someone who thinks he’s in total control of his life but finds out that his life can quickly get out of his control, thereby making him question how much control he really has.
For example, when Henrick warns his family that the mysterious smoke could be dangerous pollution, Jack’s condescending comments is that if it turns into a disaster, the “poor and uneducated” will be the ones who will be hurt the most. Jack’s attitude is a satire of a very real mentality that middle-class and upper-class intellectuals have that they are somehow “immune” from catastrophes because they think they’re too smart and will somehow know how to avoid them.
Jack’s ego gets a little confused and flustered when he finds out that Heinrich knows a lot more about this type of science than Jack does. Jack seems proud of Heinrich for this knowledge, but it still makes Jack a little uneasy that Heinrich correctly predicted this disaster when Jack had been so dismissive and wrong about it. And with Heinrich outsmarting Jack when it comes to the science of this disaster, Jack turns toward his marriage to assert some of the dominance that he expects.
All of the cast members are well-suited to their roles, but the movie is really about what happens between Jack and Babette. They don’t have the type of marriage that is headed for divorce, unlike the couple in Baumbach’s 2019 drama “Marriage Story,” for which Driver earned an Oscar nomination for Best Actor. Instead, Jack and Babette go through experiences that will make them reconsider how they are going to handle their marriage after the evacuation is over.
The fear of death and how to prepare for death are overarching themes in “White Noise,” as the pollution disaster makes several people confront their mortality. Early on in the movie, before even knowing that this disaster would happen, Jack tells Babette that he wants to die before her and that her death will be more spectacular than his. Jack says that Babette would be able to cope with being a widowed spouse better than he would be able to cope with being a widowed spouse. It might sound like a backwards compliment to Babette, but it’s really Jack’s way of saying that he doesn’t want to be a lonely widower who dies alone.
“White Noise” is hit or miss when it comes to character development. Cassidy (as Denise), Sam Nivola (as Heinrich), May Nivola (as Steffie) have believable chemistry together as stepsiblings trying to adjust to their blended family situation. (Sam and May Nivola are siblings in real life. Their parents are actors Alessandro Nivola and Emily Mortimer.) By the last third of the movie, the kids are essentially sidelined for some soap opera-ish drama between Jack and Babette.
Jack’s college professor colleagues are undeveloped supporting characters. Viewers won’t find out much about Murray, Elliot and the other co-workers who frequently have lunch with Jack: neurochemist Winnie Richards (played by Jodie-Turner Smith), Alfonse (played by Sam Gold) and Cotsakis (played by George Drakoulias). Barbara Sukowa makes the most out of her cameo as an atheist nun called Sister Hermann Marie. Other characters appear in and out of the story like comedic plot devices, rather than people with fully developed personalities.
The conversations in “White Noise” have a cadence that might remind viewers of a stage play. Baumbach and the cast members have given interviews, including a press conference held after the movie’s New York Film Festival’s “White Noise” press screening, where it’s mentioned that the cast members had one month of rehearsals before filming the movie. Most movie productions do not have that rare rehearsal privilege for cast members.
The ending of “White Noise” might seem a little too conveniently contrived for some people’s tastes. However, the end-credits sequence is a must-see for viewers, because this sequence artfully ties in together many of the movie’s themes, (The end-credits sequence involves dance choreography at an A&P grocery store while the LCD Soundsystem song “New Body Rhumba” plays on the movie soundtrack.) The “white noise” of life can either pacify, agitate or do both, depending on the people and the circumstances. The movie “White Noise” asks people and wants to know: “Are you paying attention to the white noise in the first place?”
Netflix will release “White Noise” in select U.S. cinemas on November 25, 2022. The movie will premiere on Netflix on December 30, 2022.
Culture Representation: Taking place in New York City, Boston, Houston and Tulsa, Oklahoma, the documentary film “Aftershock,” which was filmed from 2019 to 2021, features a predominantly African American group of people (with some white people and a few Asians) talking about the systemic racism in U.S. maternal health care that results in a disproportinately high death rate of African American women who died from childbirth or complications from childbirth.
Culture Clash: Family members of African American women who died in hospitals during childbirth have become activists to try to end systemic racism in maternal health care, but they face uphill battles and resistance from people who want to enable or deny this racism.
Culture Audience: “Aftershock” will appeal mainly to people who are interested seeing true stories about how race relations and social classes affect the type of health care that people get in the United States.
Shawnee Benton Gibson, Omari Maynard and Khari Maynard in “Aftershock” (Photo by Kerwin Devonish/Hulu)
“Aftershock” is a disturbing but necessary documentary to watch for a reality check about how systemic racism in the U.S. health care system has resulted in black women dying after childbirth at disproportionately higher rates than other races. The film isn’t just about spouting statistics and facts, although that important information is included. What will emotionally resonate with viewers the most are the stories of real people whose lives have been permanently changed by these medical injustices.
Directed by Paula Eiselt and Tonya Lewis Lee, “Aftershock” is a no-frills documentary that thankfully isn’t overstuffed with too many talking heads. “Aftershock” (which is Lewis Lee’s feature-film directorial debut) had its world premiere at the 2022 Sundance Film Festival, where “Aftershock” won the U.S. Documentary Special Jury Award called Impact for Change. “Aftershock,” which is filmed and edited clearly and concisely, is certainly the type of documentary that will motivate people to want improvements in the U.S. medical care system.
“Aftershock” essentially tells three main stories of African American people who’ve been affected by maternity health care in the United States. Two of the stories are about two families coping with the deaths of a woman in their family who died after childbirth. The third story is about a married couple who have to decide if the pregnant wife will give birth in a hospital or opt for an alternative location. Meanwhile, some experts and activists weigh in with their perspectives and sharing of information.
One of the documentary’s main stories is about the aftermath of the October 2019 death of 30-year-old Shamony Gibson, who died in New York City from pulmonary embolism (blood clotting in the lungs), 13 days after giving birth by C-section to her second child, a son named Khari. “Aftershock” shows how Gibson’s mother Shawnee Benton Gibson and Gibson’s partner Omari Maynard (the father of Khari) became activists as a result of Gibson’s death, which they believe could have been prevented if she received adequate medical care from the medical professionals who knew about her blood clot symptoms.
Before she died, Gibson had been suffering from shortness of breath and chest pains, which are two symptoms of pulmonary embolism. Gibson’s reported these health problems to medical professionals, who dismissed her concerns and told her that she just needed to rest more. According to Gibson’s family, she also was repeatedly asked by medical professionals, “Are you on drugs?”
Gibson was not using drugs, and the medical people were repeatedly told that information, but they didn’t seem to believe it, because they kept asking the same question. The family members believe that the medical people who repeatedly asked this “Are you on drugs?” question would not have been so stubborn in assuming that Gibson was a drug user if Gibson were a white person. They also believe that medical professionals would not have been so quick to dismiss Gibson’s health problems if she were white.
Unfortunately, the hospital where Gibson was taken was underfunded and understaffed. According to Gibson’s family (including her sister Jasmine Gibson, who is interviewed in “Aftershock”), Gibson was taken to the emergency room, where she had to wait 12 hours before getting medical treatment. By then, it was too late. She died at the hospital.
In “Aftershock,” Benton Gibson says that she worked at the hospital as a loyal employee for 25 years and never thought that the hospital would play a role in her daughter’s death. It was a rude and tragic awakening that fuels a lot of Benton Gibson’s activism. One of her biggest messages, particularly to Black women who give birth, is to not be fooled into thinking that what happed to her daughter can’t happen to them.
Another documentary story is about what happened after the April 2020 death of 26-year-old Amber Rose Isaac, who passed away after having a C-section at Montefiore Hospital in New York City’s Bronx borough. Isaac’s son, Elias Isaac McIntyre, survived the C-section, but Isaac did not. Bruce McIntyre (Elias’ father) eventually met Maynard, and they formed a support group for single fathers whose partners died from maternity health care that’s believed to be inadequate and rooted in racism.
While in the hospital for the childbirth, Isaac was diagnosed with HELLP (Hemolysis, Elevated Liver enzymes and Low Platelets) syndrome, a pregnancy complication that affects the blood and liver. Isaac’s family members believe medical negligence caused Isaac’s death and are suing Montefiore Hospital with this claim. The plaintiffs’ lawsuit contends that Isaac could have been diagnosed with HELLP syndrome long before she was in the hospital to give birth. Isaac’s family also believes that Isaac would have received better medical attention if she were white.
The third main story in “Aftershock” follows married couple Felicia Ellis and Paul Ellis as they prepare for the birth of their first child in Tulsa, Oklahoma. Felicia and Paul know about the horror stories about black women (especially low-income black women) getting treated as inferior in the U.S. health care system, compared to women of other races. The documentary shows Felicia and Paul being wary of Felicia going to a hospital for the birth of their child and looking into the birth center Breathe Birth and Wellness as an alternative. The documentary includes footage of Felicia giving birth.
It would be very easy for skeptics to say that people are just being paranoid when it’s pointed out that racism exists in the U.S. health care system. However, plenty of statistics from independent reports back up the racism claims. “Aftershock” has those statistics, which are also publicly available to anyone who wants to find them.
One of the alarming trends is that childbearing black women in the U.S. are more likely than childbearing women of other races to be told that they need a C-section when giving birth. C-sections take less time than vaginal births, but because C-sections are surgeries, women giving birth are more likely to die fom C-sections than from vaginal births. In addition, “Aftershock” points out the cold, hard fact that hospitals get more money from C-sections than they do from vaginal births.
Helena Grant, director of Midwifery at Woodhull Medical Center (a public health facility in New York City), comments in the documentary: “Very early on in my career, black women were used as guinea pigs.” Grant, who is also a certified nurse-midwife (CNM), mentions that people training in obstetrics and gynecology (OB-GYN) in the U.S. usually do their training in hospitals and clinics in low-income communities, which are often largely populated by people of color. These inexperienced OB-GYN professionals are more likely to be the lowest-paid in the OB-GYN field and most likely to make mistakes. And guess who suffers the most as a result?
Multiple people in the documentary mention that Black women are at the most risk of getting the worst maternity health care in the U.S. because of attitudes that still linger from the enslavement of black people in America. Enslaved black women were considered “property,” not human beings, and therefore were not given the health care that people who were not enslaved were entitled to get. There’s also a persistent misconception, stemming from America’s shameful slavery history, that black women are more tolerant of physical pain than women of other races.
“Aftershock” also mentions how patriarchal and sexist attitudes changed practices of assisting during childbirth. Before the 20th century, midwives and home births used to be more common in the U.S. than they are now. During the years when slavery was legal in the U.S., enslaved black women were often the midwives for the white families who enslaved them.
When men wanted to take over the practice of assisting during childbirth and make money from it, the OB-GYN profession was born in the 1700s. In the OB-GYN profession’s earliest years in the U.S., the profession was open only to people who had access to a getting a medical degree, which usually meant white men only. And although medical schools in the U.S. can now enroll people of all races and genders, to this day, most OB-GYN doctors in the U.S. are white men.
“Aftershock” also mentions the money-motivated campaign that began the early 1900s to get more women to go to hospitals to give birth, in order to take business away from midwives who helped women give birth in places other than hospitals. There are certainly advantages to having a doctor rather than a midwife assist in childbirth. However, “Aftershock” shows that more people are considering alternatives to giving birth in a hospital (options include licensed birth centers or home births) if they think the hospital will be giving incompetent care due to a patient’s race.
Neel Shah, professor of obstetrics and gynecology at Harvard Medical School, comments: “I think the well-being of moms is the bellwether for the well-being of society in general. That’s why every injustice in society shows up in maternal health care.” Shah also notes that it wasn’t until 2018 that the U.S. federal government began tracking maternal health trends. Many racial disparities can be found in these trend reports.
“Aftershock” includes footage of Shah leading an OB-GYN seminar, with McIntyre as a guest speaker. The seminar’s students (who are mostly women of various races) are visibily moved by McIntyre’s story and seem to have learned a lot from his personal account of how racism can affect the health care that someone can get. One of the students speaks to McIntyre after his talk and says to him that she had heard about Isaac’s death on Twitter, but it made a difference to see firsthand how her death affected someone in Isaac’s family.
“Aftershock” also has powerful moments of Benton Gibson, Maynard and McIntyre doing activism work to try to raise awareness about racism in maternity health care and to pass better laws about maternity health care. They attend rallies and do community outreach in these endeavors. In one scene, Benton Gibson passionately testifies during a New York City Council hearing on maternal health. New York City Council member Carolina Rivera expresses her support of Benton Gibson during this hearing.
In New York City’s Brooklyn borough, Maynard and McIntyre choose Weeksville Heritage Center as a meeting place for other single fathers who have experienced similar tragic losses of their partners who died from childbirth-related deaths. Maynard says of this meeting place: “I want to create a space where we can star to try to change policy, where we can have hundreds of thousands of people backing what we’re saying, because that’s the only way it works.”
Maynard, who is an artist who paints portraits, also began painting portraits of other women of color who died as a result of inadequate maternity health care. Maynard has met many of these women’s families through his advocacy/activist work, and he gives these portraits as gifts to the surviving family members. In one of the documentary’s emotionally potent scenes, Maynard gives a portrait of the late Maria Corona to her surviving partner Sam Volrie Jr., who is moved to tears by this gift.
Other people featured in the documentary include registered nurse Giselle Chebny; certfied nurse-midwife Regina Kizer; and Tulsa Birth Equity Initiative executive director LaBrisa Williams; and doulas Nubia Martin, Ashlee Wilson and Myla Flores. Toward the end of the documentary, Maynard and McIntyre are shown making plans to eventually open birth center in the Bronx, with the intention to help low-income pregnant women in particular, since these low-income women are less likely to get the proper medical care that they need.
“Aftershock” is not propaganda for birthing centers, nor is it a sweeping and unfair condemnation of all hospitals and OB-GYN medical professionals. However, the documentary does a very good job at sounding the alarm that pregnant black women in America are more likely to die from inadequate or incompetent medical care than pregnant women of other races. “Aftershock” is an effective presentation of facts and human stories to serve as a reminder that this problem is not just a concern for people of color but for all people who are against racism.
Hulu premiered “Aftershock” and released the movie in select U.S. cinemas on July 19, 2022.
Culture Representation: Taking place at New York City’s Chelsea Hotel, the documentary film “Dreaming Walls: Inside the Chelsea Hotel” features a group of nearly all-white people (and one African American) discussing the past and present of the Chelsea Hotel.
Culture Clash: Current residents of the Chelsea Hotel, which is known for being the home of artists and eccentrics, express frustration about the hotel’s massive reconstruction/renovations that they think are taking too long and disrupting their lives.
Culture Audience: “Dreaming Walls: Inside the Chelsea Hotel” will appeal mainly to people who are interested in the legacy of this famous hotel, but they won’t find anything substantial about the hotel’s history, and almost all of the people in documentary are actually very boring.
Bettina Grossman in “Dreaming Walls: Inside the Chelsea Hotel” (Photo courtesy of Magnolia Pictures)
Don’t expect to get the fascinating history of New York City’s famous Chelsea Hotel in the documentary “Dreaming Walls: Inside the Chelsea Hotel.” The movie is a rambling, disjointed look at some of the hotel’s current residents, who are mostly dull. Expect to hear more complaining in this documentary about Manhattan real estate than any interesting stories about past and present residents of the Chelsea Hotel.
Directed by Amélie van Elmbt and Maya Duverdier, “Dreaming Walls: Inside the Chelsea Hotel” takes a scattershot approach to documenting the happenings at the Chelsea Hotel, whose official name is actually Hotel Chelsea. The Victorian Gothic/Queen Anne Revival-styled building—located at 222 West 23rd Street, in Manhattan’s Chelsea neighborhood—was constructed from 1883 to 1885, and originally opened as a co-op apartment building but closed after just a few years, due to financial issues. The building re-opened as a hotel in 1905, and was officially declared a New York City landmark in 1966. None of this background information is in the documentary.
Most of the movie consists of cinéma vérité footage, but some other parts are a nod to the Chelsea Hotel’s past, with archival footage of some of the hotel’s famous former residents, including rock singer/songwriter Patti Smith, at the hotel and/or talking about the hotel. The Chelsea Hotel’s notoriety peaked in the 1950s, 1960s and 1970s, as the hotel became known for attracting creative artists, bohemians and other eccentrics. Some of the celebrities who called the Chelsea Hotel home at one time or another included Smith, singer/songwriter Bob Dylan, writer/poet Allen Ginsberg, writer/poet Dylan Thomas, writer Mark Twain, novelist Arthur C. Clarke and notorious rock’n’roll couple Sid Vicious (former bass player of the Sex Pistols) and Nancy Spungen.
The hotel was also the site of Spungen’s murder by stabbing in October 1978. Vicious was arrested for her murder, but he died of a heroin overdose in February 1979, before the case was resolved. Clarke wrote his classic 1968 sci-fi novel “2001: A Space Odyssey” at the hotel. Filmmaker/artist Andy Warhol’s 1966 movie “Chelsea Girls” was about the Chelsea Hotel’s artistic community at the time and was filmed at the Chelsea Hotel.
Leonard Cohen’s 1974 song “Chelsea Hotel #2” was inspired by a sexual fling that he had at the hotel with singer Janis Joplin, who died in 1971, and who spent a lot of time at the Chelsea Hotel when she was staying in New York City. Jefferson Airplane’s 1971 song “Third Week at the Chelsea” is about the Chelsea Hotel. None of that history is in this documentary, but some viewers might be fooled into thinking that “Dreaming Walls: Inside the Chelsea Hotel” will be a chronicle of the hotel’s most famous stories.
Instead, the movie focuses on some of the current residents, who spend a lot of time complaining about how the ongoing construction in the hotel is inconvenient, noisy and not worth the rent that they pay. The interviewees live in cramped spaces, which are often shabby and overcrowded with their possessions. Most of the interviewees are over the age of 60. They include Merle Lister, Bettina Grossman, Zoe Pappas, Nicholas Pappas and Steve Willis.
Lister is a social butterfly who has the liveliest personality out of them all. In one of the documentary’s few memorable scenes, she somewhat flirts with a construction worker, as they talk about how they both think the hotel is haunted with ghosts. Later in the movie, Lister is seen having a friendly dinner at the one-bedroom apartment occupied by Zoe Pappas and her husband Nicholas Pappas.
Architect/engineer Zoe Pappas, who is the president of the Chelsea Tenants Association, talks a lot about the residents’ frustrations with the Chelsea Hotel renovations. Grossman, a cranky hoarder, is described in the documentary as being the hotel’s oldest current resident, but her age is never stated in the movie. Willis, a Chelsea Hotel resident since 1994, gripes about how his living space has shrunk because of the building renovations. He says of all this reconstruction at the Chelsea Hotel: “For a long time, I felt like I was witnessing a slow-motion rape of this building.”
Far from being the vibrant artistic hub that it was in its heyday, the Chelsea Hotel looks more like a residential hotel for retired senior citizens. Much like the hotel, many of the residents have seen better days and are holding on to past glories that will never come back. “Dreaming Walls: Inside the Chelsea Hotel” can’t even get any great stories out of these residents. In the end, this so-called documentary just looks like a self-indulgent student film that’s trying too hard to be avant-garde artsy.
Magnolia Pictures released “Dreaming Walls: Inside the Chelsea Hotel” in select U.S. cinemas, digital and VOD on July 8, 2022.
