Hope, hope, hope: Here's what to watch this weekend
This weekend watchlist is all about hope. Our quest is simple: fill your weekend with the best streaming material to distract and uplift.
Station Eleven
This HBO mini-series is a pandemic-based drama that started production before the Covid 19 pandemic rocked the globe. The premise is simple: a catastrophic flu-based pandemic wipes out most of the world’s population. What happens to the survivors?
Our introduction to the story is through Jeevan, the black sheep of a high achieving Indian-American family. While watching a theatrical production of King Lear, Jeevan notices that the lead actor, Arthur Leander, is displaying signs of a heart attack. His attempt to save the dying actor introduces him to Kirsten, a child actor. Kirsten becomes Jeevan's ward as the pandemic hits soon after they meet. Most of the series is set 20 years after the pandemic, where an adult Kirsten, sans Jeevan, works at a Shakespearian travelling theatre company.
The now-dead Arthur Leander's life is the story that anchors all the characters and their arcs. Present-day Kristen and her theatre troupe face a threat The Prophet: a mysterious character who is luring children into his cult. The Prophet's threat, the discovery of a new community of pandemic survivors living in 'The Museum of Civilization', and the departure of members of her theatre family cause Kirsten's childhood trauma to resurface.
An exploration of resilience, survival, and self-discovery this 10-part mini-series is a worthwhile watch.
Watch it on Showmax before it leaves the platform at the end of May.
https://youtu.be/s6xpOJmm-Gw
Russian Doll
This Netflix series follows Nadya, a Russian firecracker of a woman, on the day she dies, which is also her birthday. After a disastrous birthday party, Nadya dies in an accident only to find herself back at her birthday party. Time after time, Nadya tries to escape her party only to end up dead and back in the bathroom of her friend's apartment. After one too many goes at the death cycle, she encounters Alan, another disgruntled soul and together they work to unravel the cause of the repeat day.
This show is funny, and Natasha Lyonne’s deadpan delivery makes it even better. I was surprised by how affected I was by the inclusion of Alan, a brooding self-conscious banal man played by Charlie Barnett, because of how comfortable I was following Nadya’s carefree adventure.
Juxtaposed against Natasha Lyonne's happy-go-lucky attitude, Alan's seriousness, carried off with an endearing gentleness, is quite beautiful to watch: The result is a fun and propulsive show.
The biggest themes are bravery, self acceptance and the beauty in being 'other'.
Catch season 1 and 2 on Netflix.
https://youtu.be/YHcKoAMGGvY
Good Luck To You Leo Grande
I think this movie should be required viewing for all women. 'Good Luck To You Leo Grande' is about sex. What do we know about it? What do we know about our bodies, and our inhibitions? Is one ever too old to (re)discover sex?
Well, the answer to the last question, according to this movie, is no. Nancy Stokes is a retired religious studies teacher. Recently widowed, Nancy hires a male escort named Leo Grande to help her tick off the items on her sexual bucket list.
This movie is sold as a female fantasy: a beautiful man shows up to tell you that your insecurities are invalid; he then blows your mind, and whoosh: you can now count yourself among the sexually liberated. But that’s not all this movie is about. It challenges stereotypes about womanhood, desire, sex work, ageism, sexism and the most important lesson for me: the importance of trust and communication in sexual relationships.
As Nancy discovers who she is, the idea that this journey could have been taken with her husband presents itself. Either way, the message is this: You are never too old to try new things, to become a new person and to have your first orgasm.
Watch Good Luck to You Leo Grande on Showmax
https://youtu.be/TJcbZoJFLTU
Exclusive one on one with Moses Bliss | Crossover
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Exclusive one on one with Joe Mettle | Crossover
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After Yang Kogonada's exploration of the meaning of life
The past is tricky thing to get at, it exists, if one is to believe scientists, as permanent moments captured in the amber of space and time.
I have, over and over again, watched videos explaining the concept of time. You can’t go back in time; you can only travel forward. However, if something has happened it cannot be erased. If you could look back at a specific moment in space and time, you’d see the past as it occurred. Memory on the other hand is tricky: it is subjective and changes all the time.
‘After Yang’ is a movie about a family who live in an AI-integrated future. Yang (Justin Min) is a human-like android bought by Jake (Colin Farrell) and Kyra (Jodie Turner-Smith) to act as a caregiver and cultural aid for their adopted Chinese daughter, Mika (Malea Emma Tjandrawidjaja).
One day, after a rather rigorous dance battle, Yang shuts down. Jake takes Yang from one repair shop to the next in search of a remedy, but his options and hope diminish over time. All the while, Mika is in mourning; she appears to be the only one who is truly alive to the gravity of Yang’s loss.
Once restoration is deemed impossible, seconds-long snapshots of Yang’s memories are given to the family. These snapshots, they are told, are what Yang deemed worth saving in his limited memory.
Jake and Kyra, mostly Jake, watch the snapshots. They see Yang in his previous life with his previous family, and they see themselves through his eyes. Yang’s three second snapshots are tender and incredibly moving. Kogonada crafts a contemplative point of view for Yang. He is always on the outside looking in with curiosity and tenderness: A quality Justin Min pulls of perfectly.
It’s in these memories that the movie truly comes alive. ‘After Yang’s’ tone before the discovery of the memories is one of stillness. The calm aesthetic and an introverted performance by the actors, lends the movie a zen-like vibe. A counterbalance to the stillness is the propulsive pacing of the story; each answered question leads to a new mystery or new character depth or new thematic insights.
Yang’s memories are childlike in their simplicity; his gaze is one of purity and admiration. In his memories, the air flows and the sun shines. There is a preciousness in Yang’s memories that echoes an emptiness in the family’s life.
Watching Yang’s interpretation of his life, and his family awakens something in Jake. Jake is pensive, lonely and searching for something, be it in his work with tea or his quest to save Yang. One gets the feeling that something is missing in Jake’s life, and that the missing piece is only just out of reach.
At some point Jake asks Yang’s friend, Ada (Haley Lu Richardson), if Yang ever wanted to be human. A question she dismisses as human minimalism, but one that reveals Jake’s desire: He wants to know what constitutes a meaningful life.
Yang is present in the moments he shares with his family, even more than Jake or Kyra whose everyday distractions, and human limitations take them away from their daughter. Taking into account Jake’s question to Ada, maybe Jake and Kyra are disadvantaged by their humanness. As human beings are we disadvantaged by the high value we attach to our limited perspectives?
“There is no something without nothing.” Yang says this to Kyra in one of her memories. To die is to have existed, to have lived.
Yang’s death opens up the family. His memories don’t just serve as a demonstration of his service and reverence for the family, they are a reminder that as you are searching for life it’s happening all around you.
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