📝 Reviewing: Materialists (2025)

Celine Song’s 2023 debut, Past Lives, was released to critical acclaim, earning nominations for Best Picture and Best Original Screenplay at the Academy Awards.

The story follows Nora and Hae Sung, childhood friends in Korea who are separated when Nora’s family emigrates to Canada. Years later, they reconnect online and begin to rekindle their bond, only to drift apart again. Eventually, Hae Sung visits Nora in New York, where she now lives with her husband, Arthur.

All of this unfolds under the idea of In-Yun, a Korean concept suggesting that people are connected across lifetimes through fate, the result of thousands of interactions in past lives.

Most of the film is built on silence, long pauses, and glances. There’s very little actual interaction or exploration of who these characters are. They act like they’re living a remarkable love story, but the truth is, they don’t have much of anything to say to each other, and it feels routine. Nora and Hae Sung met in grade school at the age of twelve. Then twelve years later, Hae Sung tracks Nora down on Facebook. He messages her on Skype. Another twelve years pass before he travels to New York to see her. At one point, he says:

“What if I’d come to New York twelve years ago? What if you had never left Seoul? If you hadn’t just left like that, and we just grew up together… would I still have looked for you? Would we have dated? Broken up? Gotten married? Had kids?”

For a film so fascinated by fate, its characters don’t seem to believe in it. That’s a whole lot of what-ifs for someone who supposedly believes in destiny.

And all this longing ignores the fact that Nora is happily married to a man she met unexpectedly at a retreat—something you might call fate.

I don’t remember who I had a crush on when I was twelve. And even if I did, I wouldn’t show up in their life asking to video chat, suggest a visit, and then prompt them to question every decision they’ve made. That’s the issue with many relationships today: people fall in love with the idea of someone, not the person right in front of them. A crush is just a lack of information, a projection of who we want a person to be.

Which brings me to Materialists.

Celine Song is back with another story of three characters, two men and one woman (again), in New York City (again), confronting love, destiny, and the choices that shape a life (again). In Past Lives, the decades-spanning structure gave us glimpses into who these people were. But here, the character background is thinner. We see the homes of the two men—one rich, one poor—but learn almost nothing about the protagonist, Lucy. We don’t know how she lives, what she loves, or what she does outside of work. Without that, there are no stakes. We can’t root for her.

Lucy describes herself as hard to please, difficult, judgmental, and superficial. So when emotional and revelatory moments arrive, they fall flat. We’re not given enough to care. She’s in love with the idea of both men but chooses the one who feels most familiar: the one she knows how to fight with, the one she can control, the one whose apartment feels second nature. The man who is second best.

I appreciate the nods to the pitfalls of modern dating, but the film, like Past Lives, just didn’t land for me. Maybe that’s because I’ve worked hard to build healthy relationships. No what-ifs, no regrets. A conscious, all-in kind of love. Every past relationship I’ve had isn’t a failure—it’s a foundation, each one making the next better.

And maybe that’s why I struggle with films like these, stories that romanticize indecision, comparison, and emotional unavailability, while suggesting everything works out in the end. I want to see more films that explore what it takes to build something healthy, not just chase something dramatic.

Love is not an idea of a person. Love is not a backup plan.

Love is a choice. Love is magic. Love is sparks. Love is running through the streets to get to someone, not running through the streets to get away.

Thanks for being here.
— Justin

People have been asking me, “What’s your favorite movie of the year?” Truth is, it hasn’t come out yet. Whether it’s the lingering effects of COVID or the industry strikes, it feels like some of the most anticipated films have been pushed to 2025. With Sundance, SXSW, and Cannes film festivals now behind us, a handful of titles are starting to generate Oscar buzz, and several big-name directors are returning with new work. So here are 16 (😳) films I’m closely following that you might not have on your radar yet.

The Life of Chuck

Logline: “In this extraordinary story of an ordinary man, Charles ‘Chuck’ Krantz experiences the wonder of love, the heartbreak of loss, and the multitudes contained in all of us.”
Director: Mike Flanagan (The Haunting of Hill House)
Starring: Tom Hiddleston, Karen Gillan
Release: In theaters now
Notable because: It’s based on a Stephen King novella, and Flanagan has proven himself with adaptations
Add to your list if: You like The Shawshank Redemption and Big Fish

Materialists

Logline: “A young, ambitious New York City matchmaker finds herself torn between the perfect match and her imperfect ex.”
Director: Celine Song (Past Lives)
Starring: Dakota Johnson, Pedro Pascal, Chris Evans
Release: In theaters June 13
Notable because: Song’s debut was nominated for Best Picture and Best Original Screenplay
Add to your list if: You’re interested in an intellectual, modern take on rom-com tropes

F1: The Movie

Logline: “Racing legend Sonny Hayes is coaxed out of retirement to lead a struggling Formula 1 team—and mentor a young hotshot driver—while chasing one more chance at glory.”
Director: Joseph Kosinski (Top Gun: Maverick)
Starring: Brad Pitt, Javier Bardem
Expected Release: In theaters June 27
Notable because: There has to be one summer popcorn blockbuster on this list
Add to your list if: You like Drive to Survive and Ford v Ferrari

Caught Stealing

Logline: “Burned-out ex-baseball player Hank Thompson unexpectedly finds himself embroiled in a dangerous struggle for survival amidst the criminal underbelly of 1990s New York City, forced to navigate a treacherous underworld he never imagined.”
Director: Darren Aronofsky (Requiem for a Dream)
Starring: Austin Butler, Zoë Kravitz, Bad Bunny
Expected Release: In theaters August 29
Notable because: Aronofsky had strokes of genius in his early days (The Wrestler, Black Swan), but he’s missed for me in recent years (Mother!, The Whale)
Add to your list if: You’re willing to take a gamble on Aronofsky

A Big Bold Beautiful Journey

Logline: “An imaginative tale of two strangers and the unbelievable journey that connects them.”
Director: Kogonada (Columbus)
Starring: Margot Robbie, Colin Farrell, Phoebe Waller-Bridge
Expected Release: In theaters September 19
Notable because: Kogonada is one of the best under-the-radar directors working right now, and I encourage you to check out his first two films
Add to your list if: You like 500 Days of Summer and Eternal Sunshine of the Spotless Mind

One Battle After Another

Logline: “When their evil enemy resurfaces after 16 years, a group of ex-revolutionaries reunite to rescue one of their own's daughter.”
Director: Paul Thomas Anderson (There Will Be Blood)
Starring: Leonardo DiCaprio, Benicio del Toro, Sean Penn
Expected Release: In theaters September 26
Notable because: Rumored to be loosely based on Thomas Pynchon's novel Vineland, and PTA already has experience adapting Pynchon with Inherent Vice
Add to your list if: You like Mickey 17 and car chases

The Smashing Machine

Logline: “MMA fighter Mark Kerr struggles with addiction, winning, and love during his peak era in the UFC.”
Director: Benny Safdie (Uncut Gems)
Starring: Dwayne Johnson, Emily Blunt
Expected Release: In theaters October 3
Notable because: It’s the solo feature directorial debut of Safdie after parting ways with his brother
Add to your list if: You like The Iron Claw and the UFC

Good Fortune

Logline: “A well-meaning but rather inept angel named Gabriel meddles in the lives of a struggling gig worker and a wealthy venture capitalist.”
Director: Aziz Ansari (Master of None)
Starring: Aziz Ansari, Seth Rogen, Keanu Reeves
Expected Release: In theaters October 17
Notable because: It’s the directorial feature debut of Aziz Ansari
Add to your list if: You’ve always wondered what it would be like if John Constantine were in Freaky Friday

Bugonia

Logline: “Two conspiracy-obsessed young men kidnap the high-powered CEO of a major company, convinced that she is an alien intent on destroying planet Earth.”
Director: Yorgos Lanthimos (Poor Things)
Starring: Emma Stone, Jesse Plemons
Expected Release: In theaters October 24
Notable because: Lanthimos consistently creates memorable films, even if some are a bit too out there for my taste
Add to your list if: You like Bong Joon Ho and Succession

After The Hunt

Logline: “A college professor finds herself at a personal and professional crossroads when a star pupil levels an accusation against one of her colleagues, and a dark secret from her own past threatens to come to light.”
Director: Luca Guadagnino (Challengers)
Starring: Julia Roberts, Ayo Edebiri, Andrew Garfield
Expected Release: In theaters October 10
Notable because: Guadagnino is known for sensual, emotional films, and Call Me by Your Name is a favorite for many
Add to your list if: You like She Said and Tár

Sentimental Value

Logline: “An intimate exploration of family, memories, and the reconciliatory power of art.”
Director: Joachim Trier (The Worst Person in the World)
Starring: Renate Reinsve, Stellan Skarsgård, Elle Fanning
Expected Release: In theaters November 7
Notable because: It recently won the Grand Prix at Cannes and was picked up by Neon, which means it will have a big push for Oscars contention.
Add to your list if: You like Aftersun and Marriage Story

The Running Man

Logline: “A man joins a game show where contestants, allowed to go anywhere in the world, are pursued by hunters hired to kill them.”
Director: Edgar Wright (Baby Driver)
Starring: Glen Powell, Colman Domingo, Michael Cera
Expected Release: In theaters November 7
Notable because: Wright is known for high-energy stylistic films, so this remake of the 1987 action classic is in good hands
Add to your list if: You like Arnold Schwarzenegger and Ready Player One

Frankenstein

Logline: “A brilliant but egotistical scientist brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.”
Director: Guillermo del Toro (Pan’s Labyrinth)
Starring: Oscar Isaac, Jacob Elordi, Mia Goth
Expected Release: On Netflix in November
Notable because: Del Toro and gothic stories go together like peanut butter and jelly
Add to your list if: You like Halloween and attractive actors

Untitled Political Thriller

Logline: “Centered on White House staffers grappling with an impending missile strike on America, this gripping drama unfolds in real-time as tensions escalate.”
Director: Kathryn Bigelow (Zero Dark Thirty)
Starring: Idris Elba, Rebecca Ferguson
Expected Release: On Netflix late 2025
Notable because: Bigelow was the first woman to win the Academy Award for Best Director and is one of the best action directors of our generation
Add to your list if: You like Luther and 24

Marty Supreme

Logline: “Marty Mauser, a young man with a dream no one respects, goes to hell and back in pursuit of greatness.”
Director: Josh Safdie
Starring: Timothée Chalamet, Gwyneth Paltrow, Tyler The Creator
Expected Release: In theaters December 25th
Notable because: It’s the solo feature directorial debut of Safdie after parting ways with his brother
Add to your list if: You like Timmy and gritty biopics

The Rivals of Amziah King

Logline: “In rural Oklahoma, Kateri loses her mother and flees foster care. She reunites with past foster parent Amziah King, who mentors her, revealing hidden skills. Facing devastating situations, Kateri relies on newfound strength to seek justice.”
Director: Andrew Patterson (The Vast of Night)
Starring: Matthew McConaughey, Kurt Russell
Expected Release: 2025
Notable because: Patterson’s debut film showed promise on a micro budget, so his sophomore effort with a larger budget is intriguing, and it marks McConaughey’s first on-screen role in six years
Add to your list if: You like the South and the Avett Brothers

Happy watching,
— Justin

📝 Reviewing: Bring Her Back (2025)

Ask any horror movie buff why they like the genre, and they’ll say that, sure, gore and jump scares can be fun, but horror movies explore the fears and anxieties that humans face every day. These themes show up as monsters and metaphors, reflecting fears about the unknown, loss, and human nature. While this has always been true, it feels even more apparent now with films like Get Out (racism), It Follows (sexual anxiety), Midsommar (cults and codependency), and Hereditary (family trauma). Bring Her Back is the latest addition to that list.

Bring Her Back comes from twins Danny and Michael Philippou, who first gained attention with horror-comedy videos on YouTube. The film follows a brother and sister who, after the death of their father, are introduced by their foster mother to a new sibling, only to discover she’s hiding a terrifying secret. It’s brutal, gruesome, and I’m pretty sure I watched at least 10 minutes of it through my fingers. It doesn’t rely solely on jump scares, instead lingering with haunting visuals and disturbing images of body horror that have seared into my brain. I felt many of these scenes physically, and still get squeamish just thinking about them.

What’s most haunting, though, is that this film is about grief—how it stays with you, how it shows up in different forms at different times, how it can control you, and how it can affect others if left unprocessed. While I have no desire to watch this film again and would struggle to recommend it because of its scenes and just the general vibe of a bad time that it is, I fully respect its vision, its message, and how effectively it left my skin crawling. Bring Her Back is currently in theaters.

📺 Watching: The Devil’s Plan (2023)

Years ago, a South Korean game show called The Genius started making the rounds in my board game circles. Marketed as a blend of Survivor and social deduction, I gave it a shot. The show layered psychological strategy over familiar game mechanics, and the clever editing kept every episode suspenseful, often ending in cliffhangers.

Now, with the global rise of Korean TV and cinema, Netflix has released The Devil’s Plan, a spiritual successor to The Genius created by the same producer. Currently in its second season, The Devil’s Plan carries forward that same core DNA. Contestants navigate high-stakes games of logic, math, social maneuvering, and luck. Each challenge is a step toward making it to the end while building up a growing prize pot along the way.

If you’re into reality competition shows, love board games, or enjoy escape room-style puzzles, this show is worth your time. Both seasons of The Devil’s Plan are available to stream on Netflix.

🎲 Playing: Ticket to Ride Legacy

In the board gaming world, Ticket to Ride is known as a “gateway game,” the kind of game hobbyists use to introduce others to the hobby or bring to family gatherings. It’s easy to teach, simple to learn, and has earned its place as a modern classic. After 18 years in the hobby, I’ve moved on to more complex and novel experiences. But lately, I’ve noticed a growing appetite for Legacy-style games, games that evolve and change permanently based on players’ decisions and outcomes.

Legacy games force us (serial buyers, a.k.a. me) to play our games more than once, without the burden of relearning complex rules every session. Which brings me to Ticket to Ride Legacy: Legends of the West.

Here, players embark on twelve journeys across 19th-century North America as pioneers forging their way from the East Coast to the West, facing unique challenges along the way. My game group is four games in, and it’s been a refreshing twist on the classic Ticket to Ride formula, full of surprises and new layers that keep the experience exciting.

Whether you’re a Ticket to Ride veteran or someone looking for a campaign-style game that only takes a handful of sessions to complete, I highly recommend giving this one a try.

📣 Recommending: Aspect Ratios with Ryan Coogler

Admittedly, I didn’t know who Ryan Coogler was until this April. I follow a bunch of film accounts on Instagram to keep up with news and announcements, and one day, while scrolling, I came across a video from Kodak. A guy was breaking down the differences between film formats, and he clearly knew his stuff. On top of that, his passion and excitement for filmmaking were contagious.

Curious, I looked him up and found out he started on a football scholarship, got recognized for his creative writing, and received Final Draft as a gift from his wife when he couldn’t afford it. All of that made me want to support his work, so I bought a ticket to Sinners without knowing much about it. Only later did I realize he also directed Black Panther. So yeah, he’s doing just fine.

If there’s anyone who can be a cheerleader for the importance of movie theaters and a reason to see films on the big screen when you can, it’s him. The breakdown with Ryan Coogler is available to watch on YouTube.

🏁 Working On: Last Looks

I’m thrilled to share that I’ve finished the script for my short film, Last Looks. It’s a story I’ve been quietly shaping for a while, and now it’s ready to take its next steps. I’m currently looking for a producer before diving into location scouting and assembling a crew. If you’re curious to learn more, want to read the script, or are interested in getting involved, I’d love to hear from you.

Thanks for being here.
— Justin

Streamers are pouring resources into television shows. Cinematic production keeps leveling up. Storylines are getting bolder and more layered. We are in an era of primetime television.

But film is about to have a moment too. This year should bring new releases from Ari Aster, Wes Anderson, Celine Song, Darren Aronofsky, Yorgos Lanthimos, Paul Thomas Anderson, Danny Boyle, and Mike Flanagan 😮‍💨

So until those films arrive, here are a few TV picks you might already be anticipating, didn’t know were dropping soon, or are just discovering for the first time.

Adolescence

Adolescence is an intense, harrowing, and emotional experience. This series serves as a call to action for parents, highlighting the challenges teens face in today’s digital age, including incel culture, bullying, and misogyny. Beyond its timely and important message, it’s also a technical masterpiece with each of its four episodes shot in a single take. On top of all that, the performances are incredible, especially newcomer Owen Cooper, who filmed the series at just 14 years old in his first professional role. All four episodes are available to stream on Netflix.

Watch this if you like: Uncut Gems, Normal People, Euphoria.

The Pitt

The Pitt follows the crew of an emergency room in Pittsburgh, capturing the chaos, urgency, anxiety, and importance of the job. Its real-time format makes it especially gripping. Each episode covers a single hour in the hospital, so it feels like you’re right there as each new patient is rolled in. From what I’ve read, the medical details are factually accurate, and the show is honest about how the system works. It’s already been renewed for season two. Unlike many others on this list, the wait won’t be long as new episodes could arrive as soon as January. All fifteen episodes are available to stream on Max.

Watch this if you like: The Bear, 24, ER.

Black Mirror Season 7

Black Mirror continues to explore the darker side of technology and its impact on our lives. Each episode presents a different dystopian reality, often leaving you with more questions than answers. It’s an unsettling and thought-provoking sci-fi anthology, but a little too bleak for me to keep it on my watchlist. All six episodes are available to stream on Netflix.

Watch this if you like: …Black Mirror.

Common Side Effects

Common Side Effects has officially hit the rule of 7 for me. While I wouldn’t describe myself as someone who’s into adult animation or has a deep history with Adult Swim, this show has been consistently popping up across all my feeds, so I had to check it out. The animation is both beautiful and weird. And even though it’s playfully animated, it has serious things to say about conspiracies, the environment, and Big Pharma. All ten episodes are available to stream on Max.

Watch this if you like: Scavengers Reign, Pantheon, Primal.

The Last of Us Season 2

While Pedro Pascal established himself in Game of Thrones, Narcos, and The Mandalorian, it wasn’t until The Last of Us that he became the zaddy we all love today. The show follows Joel and Ellie, survivors forced to endure a brutal trek across a post-outbreak America. It’s based on a hugely successful video game, and anything with such beloved source material opens itself up to backlash. But if you’re just along for the ride, season two promises more of that post-apocalyptic world. Episodes are released weekly and are available to stream on Max.

Watch this if you like: Children of Men, The Walking Dead, Chernobyl.

The Studio

I’m a big fan of Seth Rogen—his acting, his art, and his production company, which funds smaller films, childhood cartoons, and comic books adapted for the big screen. So, an original show written with his creative partner, Evan Goldberg, about the film industry seemed right up my alley. It’s an intense, manic, and technically impressive satire. It’s also a bit “inside baseball,” with cameos galore and behind-the-scenes peeks into the inner workings of Hollywood. But ultimately, it’s a little too outrageous for my tastes. Episodes are released weekly and are available to stream on Apple TV+.

Watch this if you like: 30 Rock, The Bear, Birdman.

Lazarus

Director Shinichirō Watanabe’s work oozes style, often featuring guns, jazz, and sharp choreography. So when I heard he had a new show out, I was immediately interested. Lazarus follows a task force of five agents racing to find a genius neuroscientist who holds the key to creating a vaccine before users of a dangerous experimental drug begin to die. It’s clearly cut from the same cloth as Cowboy Bebop, with its soundtrack, vibrant poster, and gun-toting protagonist named Axel. And like Common Side Effects, it also critiques the medical industry and environmental crisis. While it can’t match Cowboy Bebop’s legacy, Lazarus is still an action-packed “gun-fu” romp. Episodes are released weekly and are available to stream on Max.

Watch this if you like: Cowboy Bebop, Samurai Champloo, Psycho-Pass.

The Rehearsal Season 2

The Rehearsal is one of the most fascinating pieces of art I’ve experienced. What begins as Nathan Fielder exploring the lengths people will go to reduce the uncertainties of everyday life eventually evolves into a social experiment on himself. It explores expectations, grief, relationships, and ultimately, reality. It’s truly remarkable and unlike any other show out there. I’m curious how he can keep the gag going, and I look forward to learning more about what he has up his sleeve. Episodes are released weekly and are available to stream on Max.

Watch this if you like: How To with John Wilson, Severance, Nathan For You.

Andor Season 2

Andor skips the epic space battles and lightsaber duels and instead focuses on the core of the Star Wars story, which centers on the fight between good and evil, rebellion, and the struggle for freedom and justice. I think that’s largely due to Tony Gilroy, writer of The Bourne Identity, The Bourne Supremacy, and The Bourne Legacy, being at the helm of the story. Every character is well-developed and excellently performed. The cinematography is stunning, the sets feel lived in, and the music is moving. Star Wars fan or not, Andor is a show I’d recommend to anyone. It is a beautifully made political thriller about standing up for what’s right. Episodes are released weekly and are available to stream on Disney+.

Watch this if you like: Battlestar Galactica, The Expanse.

Taskmaster Series 19

Taskmaster is a British panel show in which comedians tackle a range of inventive assignments. These tasks range from imaginative puzzles to physical challenges. Contestants are encouraged to approach each one in original and comedic ways, often resulting in surprising outcomes. What I admire most is the creativity of the challenges, the resourcefulness of the participants, and how the show consistently leaves me laughing harder than ever before. The nineteenth series will be available on YouTube starting on May 1.

Watch this if you like: Great British Bake Off, Whose Line Is It Anyway?

Welcome to Wrexham Season 4

I’m a sucker for a good underdog story and a sports documentary. Welcome to Wrexham, now in its fourth season, continues to follow Rob McElhenney and Ryan Reynolds through their Hollywood-to-Wales Cinderella story as they try to climb the ranks in the Welsh football system. The docuseries is a touching exploration of the power of sport to bring hope and change to a community in need. The fourth season will be available on Hulu starting on May 15.

Watch this if you like: Ted Lasso, The Last Dance, Drive to Survive.


Thanks for being here.
— Justin

📝 Reviewing: Black Bag (2025)

You don’t have to pull the trigger to be the deadliest person in the room.

At a brisk 94 minutes, Black Bag makes every second count, delivering a stylish, sexy, and smart spy thriller. From its immersive opening to the mind games around the dinner table, the film maintains a tension that keeps both the audience and its characters on edge throughout.

Having revisited Ocean's Twelve just before watching Black Bag, Soderbergh's signature style was fresh in my mind—and it’s on full display here. Set against the luxurious yet gritty backdrop of British intelligence, the film comes alive with long, fluid camera movements, quick cuts, intimate close-ups, and sleek wardrobe choices. Every frame glows, giving the world a textured, tactile quality that enhances its noir vibe.

The script, by Jurassic Park and Mission: Impossible writer David Koepp, is sharp, guiding the audience through a labyrinth of deception. The stellar cast—led by Michael Fassbender and Cate Blanchett—instantly convinces you that their characters know exactly what they’re doing, even if the complex web of the plot isn’t fully clear. You trust them to lead you to the right conclusions, and the film culminates in a whodunnit that plays out like a 94-minute magic trick.

Beyond its visual appeal and intelligent dialogue, Black Bag also explores themes of love, trust, and betrayal. It’s about choosing your partner, doing anything for them, and trusting they’ll do the same. It’s the best film of 2025 so far and is currently in theaters.

📺 Watching: Severance Season Two (2025)

The work is mysterious and important.

I watched Severance when it first premiered in 2022, drawn in by its concept, themes, and performances. Its season finale remains one of the best episodes of television I’ve ever seen. And for the past three years, I’ve been eagerly awaiting its second season.

Now, with Season Two, Severance has evolved from a cult hit into a full-blown cultural phenomenon. Fans are visiting its filming locations, dissecting scenes down to the second, and fueling endless discussions about its mysteries. Thankfully, Severance Season Two still holds up. It deepens the intrigue, tension, and emotional weight while maintaining its distinctive world, stellar performances, and stunning cinematography.

However, as clever as the show is, I’m not sure it’s quite as smart as we give it credit for. I see friends disappearing down Reddit rabbit holes, analyzing every plot detail and theory. Sure, it’s fun to speculate, but I’ve been here before with a little show called Lost. It introduced a web of mysteries, many of which were either left unanswered or resolved in a way that felt rushed or unsatisfying. I worry Severance could meet the same fate. There are simply too many plotlines, possibilities, Pandora’s boxes, and… goats to wrap up neatly.

So this time, I’ve learned my lesson. I’m keeping my expectations in check, knowing that not everything will get a satisfying resolution. I’m just here for the ride—no matter how many stops this elevator makes. Severance is available to stream on Apple TV+ with the Season Two finale airing this Friday.

🎧 Listening To: coulou

I want my home to be welcoming and full of art, so if you ever visit, there’s a good chance music will be playing. I'm always on the lookout for music to host to—which often means a mix of world music, chill hop, and jazz. As a result, my YouTube algorithm is packed with LoFi Girl, mocha., and warm blanket.

But after realizing those channels are likely AI-generated, I decided to seek out real performers instead of curated playlists with cute thumbnails. That led me to coulou—a multi-instrumentalist producer and performer who records in serene settings like cabins, lakesides, and sunset-lit patios. Not only is his music a perfect addition to my hosting arsenal, but he’s also a talented artist in his own right, with music available for purchase. You can check him out on YouTube.

📕 Reading: The Lantern of Lost Memories (2024)

You see, once you get here, it doesn't matter how wealthy or important you were in life. All you're left with are your memories.

As I prepare for my upcoming trip to Japan, I’ve been immersing myself in content from Japanese creators and stories set in Japan. In my search for a book that would resonate deeply during this time, I stumbled upon The Lantern of Lost Memories.

This novel follows the story of a magical photo studio owned by Mr. Hirasaka, a collector of antique cameras. But this isn’t just any studio—it’s a gateway to the afterlife, where the departed are given one final chance to see their entire life flash before their eyes. As they slowly come to terms with their passing, they reflect on their memories and are granted the opportunity to travel back in time to capture one cherished moment they wish to preserve.

As someone drawn to photography, memory, and currently developing a story centered on last looks, this book couldn’t have found me at a better time. The Lantern of Lost Memories is available now, wherever you get your books.

Thanks for being here.
— Justin

The Oscars are often dismissed as a night of Hollywood excess, and I totally get that. But for me, a film fan and aspiring filmmaker, they serve as a spotlight on art, recognition, and hope.

This year’s nominees bring us stories of a young sex worker forging her own path, a visionary architect reshaping the world, a new Pope navigating faith and power, an enigmatic 19-year-old talent on the rise, a fading celebrity grasping for relevance, and a misunderstood green-skinned witch redefining villainy. These films aren’t just entertainment. They encourage us to empathize, reflect, and see the world from other perspectives. And without the attention of the Oscars, many of these films might never find the audience they deserve.

With nearly 10,000 industry professionals voting in the Academy, the Oscars are an acknowledgment from those who understand the craft, sacrifice, and collaboration behind filmmaking. More importantly, as the Academy continues a push toward diversity and inclusion, the awards are becoming a platform for stories that might once have been overlooked. They expand representation and prove that the future of film belongs to everyone.

🔥 My Takes

Who will win: Dune: Part Two
Who should win: Dune: Part Two
Why: Dune: Part Two is a cinematic achievement that pushes the boundaries of technical innovation. Each sequel is appointment-viewing and epitomizes why seeing movies in theaters is important. Its massive scope, immersive world-building, and epic battles solidify its place as one of the defining films of our time. Much like Star Wars before it, Dune: Part Two will inspire a new generation of filmmakers, proving that visionary storytelling can shape the future of cinema.

Who will win: Dune: Part Two
Who should win: Dune: Part Two
Who should actually win: Civil War (snubbed)
Why: See Visual Effects.

Who will win: Wicked
Who should win: Nosferatu
Why: Wicked is based on a musical, which is based on a book, which is based on a movie, which is based on a book—so there’s plenty of source material to draw from for inspiration in these costumes. I find that a bit of a bummer, especially considering last year’s winner, Poor Things, was so unique and imaginative. However, I’m not sure where else Wicked is the front-runner, it’s just too successful and 🎵 pop-uuu-lar 🎵 to go home empty-handed. So I think this is a category where it stands a strong chance.

Who will win: The Substance
Who should win: The Substance
Why: The Substance is a film that not only utilizes hair and makeup but is also a story very much about hair and makeup. It heavily relies on prosthetics, practical effects, and puppetry, using 5,500 US gallons of fake blood to depict Demi Moore’s transformation. It's rare for a horror film to be nominated, and it would be refreshing to see one win, especially since horror movies are among the most profitable and successful genres in cinema.

Who will win: “El Mal” - Emilia Pérez
Who should win: “Like A Bird” - Sing Sing
Why: What once was an Oscar darling with 13 nominations—the most for a non-English film and the second most of all time—Emilia Pérez is now on the tail end of a PR disaster. Despite that, I still feel there is some momentum behind it, especially in a lackluster year for Original Song (and Actress in a Supporting Role). With “El Mal” featured in every Zoe Saldaña appearance, it’s the most memorable song of the bunch and is bound to stick in the Academy’s head, taking the win.

Who will win: I’m Still Here
Who should win: n/a
Why: I haven’t seen I’m Still Here because it’s not widely available, but its growing momentum makes it a strong Oscar contender. With Fernanda Torres also nominated for Best Actor and Emilia Pérez facing the aforementioned PR mess, the competition seems to be shifting in its favor. Given its trajectory, I’m Still Here feels poised to take home the award, but I wouldn’t be upset if Flow got it, highlighting the importance of visuals over dialogue in the medium.

Who will win: The Brutalist
Who should win: The Brutalist
Who should actually win: Challengers (snubbed)
Why: The past three years have featured Best Original Score winners from epic, dramatic Best Picture nominees (Dune, All Quiet on the Western Front, Oppenheimer), and I don’t see that changing here. The Brutalist score complements its storytelling and enhances the film's atmosphere.

Who will win: No Other Land
Who should win: No Other Land
Why: I saw No Other Land at the Denver Film Festival, and it was a profoundly moving and eye-opening experience—everyone left the theater in tears. Its powerful, timely story makes it one of the most important films of the year. Even after winning many awards this season, the fact that no U.S. distributor has picked up the film—made by a collective of Palestinian and Israeli activists—raises concerns about whether enough Academy members have seen it to give it their vote.

Who will win: The Brutalist
Who should win: Dune: Part Two
Why: With Greig Fraser winning the Oscar for Dune: Part One, Nosferatu likely out due to its horror genre, and Emilia Pérez facing its own drama, The Brutalist stands as the most compelling choice—and rightfully so. Made for just $10 million and shot in only 33 days, its visual achievements are stunning. That opening shot of the Statue of Liberty and the Italian quarry scene will stay with me for a long time.

Who will win: Anora
Who should win: Conclave
Why: Ah, the category that confuses 'Best' and 'Most' every year. Often, this award goes to the loudest edited film, with recent winners including Everything Everywhere All at Once and Oppenheimer. However, I don’t feel that the nominees this year are overly edited, so I’m defaulting to Anora, as it continues to make a run for Best Picture.

Who will win: Wicked
Who should win: The Brutalist
Why: With its standout feature on Architectural Digest, Wicked has made a compelling case for why it deserves this award. Its cultural impact and undeniable charm make it a top contender. Wicked’s production designer, Nathan Crowley, has previously been nominated for The Prestige, The Dark Knight, Interstellar, Dunkirk, and Tenet, but has yet to win. This will be his year.

Who will win: The Wild Robot
Who should win: The Wild Robot
Why: Pixar hasn’t won this category since 2020 with Soul, and the Academy has recently favored unique stories with The Boy and the Heron and Pinocchio. The Wild Robot combines a charming narrative with innovative animation, making it a standout contender this year. Given the trend toward recognizing original storytelling—and the fact that Inside Out has already won—this film is more than deserving of the Oscar.

Who will win: Kieran Culkin
Who should win: Kieran Culkin
Why: A Real Pain was my favorite film of Sundance 2024 and one of the best of the year. Kieran Culkin has dominated the awards season, delivering an incredible performance alongside Jesse Eisenberg, with their on-screen chemistry extending into a strong PR push. Culkin is honest, humble, and undeniably deserving, and his long career in the industry will likely resonate with the Academy. If you could only place one bet on the night, put your money here.

Who will win: Adrien Brody
Who should win: Adrien Brody
Why: The Academy loves a biopic, so Timothée Chalamet as Bob Dylan feels like a no-brainer. However, they likely see his long career ahead as an opportunity for future recognition. Ultimately, this feels like Adrien Brody’s moment to complete his comeback story. His performance in The Brutalist was demanding, and he delivered.

But as much as the Academy loves a biopic, they love a compelling storyline even more. Brody currently holds the record as the youngest Best Actor winner. If Chalamet pulls off an upset, not only will it be the biggest surprise of the night, but—you guessed it—he’ll become the youngest actor to win, taking home both the trophy and the record.

Who will win: Zoe Saldaña
Who should win: Zoe Saldaña
Why: See Original Song.

Who will win: Demi Moore
Who should win: Mikey Madison
Why: Mikey Madison’s bold performance in Anora has gained significant momentum. However, as unfair as it may be, the Academy often favors awarding a veteran in recognition of their long-standing career and a strong comeback story. While Madison is undoubtedly deserving, this award is likely going to Demi Moore, whose contributions to the industry have been substantial.

Who will win: Anora
Who should win: A Real Pain
Why: Best Picture and Screenplay often go hand in hand, which is why I’m leaning toward Anora, but I’m really hoping A Real Pain takes home the win. A Real Pain was my favorite film of Sundance 2024, with a smart and tight script that’s truly deserving. Jesse Eisenberg has been making a strong media push, elevating Kieran Culkin and Emma Stone along the way, which I believe will resonate well with the Academy. A Real Pain is attempting to be the first winner in Original Screenplay without a Best Picture nomination since Eternal Sunshine of the Spotless Mind in 2004.

Who will win: Conclave
Who should win: Nickel Boys
Why: Conclave deserves an Oscar for its sharp, tension-filled script elevated by an all-star ensemble cast. The screenplay has already won at the BAFTAs, Critics Choice Awards, USC Scripter Awards, and Golden Globes. However, I wouldn't mind an upset here, as Nickel Boys stands out for its unique direction and interpretation of the original material. And a win here would provide Ramell Ross with the resources to continue creating unique, impactful stories.

Who will win: Anora
Who should win: The Brutalist
Who should really win: Dune: Part Two
Why: Four of the last six years have seen Best Director align with Best Picture. While I don’t necessarily agree with that trend, it seems likely to happen again this year, with Anora taking both prizes. With Tangerine, The Florida Project, and Red Rocket on his résumé, it feels like the Academy will reward Sean Baker for his contributions to the industry and his knack for highlighting the lives of marginalized people.

Who will win: Anora
Who should win: Conclave
Why: I much preferred Conclave over Anora, but based on the momentum heading into the weekend, Anora seems to have a strong lead. Screenplay or directing often go hand in hand with Best Picture, so if Anora wins one of those, I think it’s a lock for Best Picture. Sean Baker has been running a strong campaign for indie and low-budget films, and with indie darlings Nomadland, CODA, and Everything Everywhere All at Once being recent Best Picture winners, it feels like the stars are aligning for Anora to take home the prize of the night.

Thanks for being here.
— Justin

Friday

Hal & Harper 🌕🌕🌕🌕🌑

Cooper Raiff is one of my favorite contemporary filmmakers, known for crafting personal, raw, and charming films. At 27, he has already won SXSW’s Grand Jury Prize with Shithouse and sold his second feature, Cha Cha Real Smooth, to Apple for $15 million. His latest project, Hal & Harper, is an 8-episode TV series he self-financed and has been developing for the past six years. The series follows two siblings navigating adulthood after being forced to grow up too fast by their father. With his signature blend of vulnerability, humor, and heart, Raiff delivers another emotional story about love, family, and figuring it all out—together.

Hal & Harper is still seeking distribution.

Saturday

2000 Meters to Andriivka 🌕🌕🌕🌕🌕

Mstyslav Chernov’s 20 Days in Mariupol was one of the most depressing and devastating documentaries I’ve ever seen, capturing the first weeks of Russia’s invasion of Ukraine. The film went on to win a Pulitzer Prize and an Oscar. Now, Chernov turns his lens to Ukraine’s counteroffensive in Andriivka. Using helmet-mounted GoPros, he crafts an unbelievably cinematic yet devastatingly real portrayal of war. Just when I thought nothing could be more harrowing than Mariupol, Andriivka goes even further—an unrelenting, must-watch testament to the cost of conflict.

2000 Meters to Andriivka won the Directing Award: World Cinema Documentary and will be released by Frontline/Associated Press.

DJ Ahmet 🌕🌕🌕🌕🌑

DJ Ahmet is a tribute to the unifying power of music, marking the feature debut of director Georgi Unkovski. Set in rural North Macedonia, the film follows 15-year-old Ahmet, who falls in love for the first time and dreams of becoming a DJ, all while challenging the conservative norms of his village. Unkovski and his team spent three months living with locals just miles from his home to authentically immerse themselves in the community. Shot in stunning locations, DJ Ahmet is not only laugh-out-loud funny and unexpectedly enjoyable but also delivers a refreshing, cliché-free ending. With heartfelt storytelling and beautiful cinematography, this was a surprise hit for me.

DJ Ahmet won the World Cinema Dramatic Special Jury Award for Creative Vision
and the Audience Award: World Cinema Dramatic and is still seeking distribution.

Speak 🌕🌕🌕🌕🌑

From Friday Night Lights, Boys State, Minding the Gap, and Going Varsity in Mariachi, I’m a sucker for coming-of-age stories set in high school, and Speak delivers exactly that. The film follows five top-ranked oratory students as they spend a year crafting spoken word performances, diving into the high-stakes world of one of the most intense public speaking competitions. With past competitors like Oprah, Stephen Colbert, and Brad Pitt, Speak captures how the power of words can shape perspectives, inspire change, and turn vision into reality. We’re sure to see more of these students in important roles in the future—and that's a future I can get behind.

Speak is still seeking distribution.

Bubble & Squeak 🌕🌕🌗🌑🌑

Writer-director Evan Twohy makes his feature debut with this adaptation of his acclaimed comedic play, which landed on the 2020 Hollywood Black List—a coveted survey of the industry’s most-liked unproduced scripts, previously spotlighting films like Juno, The King’s Speech, and Slumdog Millionaire. In this offbeat satire, newlyweds Declan and Delores find their marriage tested when they’re accused of smuggling… cabbages into a nation where cabbages are banned. Knowing the festival would lean dramatic, I added this to the lineup for some brevity. However, it turned out to be too silly and outlandish for my tastes.

Bubble & Squeak is still seeking distribution.

Sunday

Plainclothes 🌕🌕🌕🌕🌑

Plainclothes is the feature debut of writer-director Carmen Emmi. It’s a romantic thriller about an undercover cop who, assigned to lure and arrest gay men, falls in love with a target. The film is inspired by an L.A. Times article and Emmi’s own coming-out experience in the 90s. Plainclothes explores themes of identity, fear, and resilience, serving as both a warning and homage to the past. Intense moments are conveyed through subtle glances, ultimately building to a boiling point of chaos, reminiscent of The Bear's "Fishes" episode.

Plainclothes won the U.S. Dramatic Special Jury Award for Ensemble Cast and is still seeking distribution.

Seeds 🌕🌕🌑🌑🌑

Seeds is the debut feature from director and cinematographer Brittany Shyne, originally developed as her MFA thesis film. Shot over nine years, it explores the legacy of Black generational farmers in the American South. While Shyne’s intention was likely to honor Black heritage and highlight their impact on agriculture, the film only briefly touches on the exploitation and government discrimination Black farmers have faced—a perspective that could have sparked education and action. Instead, its contemplative, fly-on-the-wall approach ultimately falls flat and drags, much like the plows we're forced to sit on throughout the film.

Seeds won the U.S. Grand Jury Prize: Documentary and Sundance Institute | Amazon MGM Studios Producers Award for Nonfiction and is still seeking distribution.

Omaha 🌕🌕🌕🌕🌑

Omaha, written by screenwriter Robert Machoian, was first conceived in 2008 and submitted to the Sundance Screenwriters Lab in 2013, only to be rejected. Years later, the script was rediscovered by longtime festival attendee Cole Webley after meeting Machoian at Sundance. The film follows siblings Ella and Charlie, who, after an ambiguous family tragedy, are unexpectedly woken up by their father and taken on a journey across the country. As their adventure unfolds, Ella begins to realize that things might not be as they seem. The film reminded me of Nomadland, with wonderful performances and cinematography set in the American Midwest, culminating in an ending that snuck up on me and left me devastated.

Omaha is still seeking distribution.

Sorry, Baby 🌕🌕🌕🌗🌑

Sorry, Baby is the feature debut of Eva Victor, who gained recognition through viral Twitter videos in the late 2010s. During the pandemic lockdown, they retreated to a cabin in Maine to write their first screenplay. Victor's Twitter presence caught the attention of Barry Jenkins (Moonlight), who produced the film and convinced them to direct and star in it. This slice-of-life "traumedy" consists of five chapters, each representing a key moment in the life of a professor at a New England college struggling to regain her footing after being sexually assaulted. With its blend of witty banter and earnest vulnerability, the film showcases Victor's writing talent. While it wasn't a complete win for me, possibly due to being screened last over the weekend, it’s clear that Victor is a writer to watch.

Sorry, Baby won the Waldo Salt Screenwriting Award and will be released by A24.

Thanks for being here.
— Justin

And it’s been really rewarding. People often reach out to say they loved something I recommended or jump into conversations about a piece I’ve covered, picking up right where the newsletter left off. A few of you have even subscribed to support this project—thank you. It’s humbling to know my thoughts on media resonate with you.

But having subscribers brings a self-imposed responsibility to post regularly, and lately, I’ve spent more time writing about other people’s work than focusing on my work. So if you’ve noticed fewer issues recently, that’s why. I’ve been dedicating more energy to my work. Here’s a bit more about what’s been in the making.

I’m currently working on a short film titled Last Looks. But before I dive into what I’m creating now, I’d like to go back to where it all began.

In the Beginning

In 2004, movies like Primer, Eternal Sunshine of the Spotless Mind, Garden State, Before Sunset, Wicker Park, Mean Girls, Saw, Collateral, Shaun of the Dead, and The Notebook were released (holy shit what a year). As an impressionable 17-year-old discovering my interests and identity, these movies had a big influence on me. My social media handle at the time was “hiddencinema” because I was fascinated by all the moving parts behind the scenes that go into making a movie. And that’s how I saw myself—someone quietly obsessed with movies. That’s when I learned to love film.

In 2007, I moved to Austin, TX. I lived within walking distance of the Alamo Drafthouse, where I’d watch advance screenings and indie programming that opened up new perspectives. Immersing myself in the energy of festivals like Austin City Limits, SXSW, and Fantastic Fest motivated me to explore screenwriting. I took a class, and soon after, I was interning on a documentary. That’s when I learned to write.

By 2010, I had a camcorder and began documenting life around me. Concerts, friends, skateboarding—capturing moments and piecing them together. That’s when I learned to edit.

In 2013, I launched a board game company. We published five games—a mix of original designs, new designs from other creators, and imports from overseas. Through that, I learned to collaborate.

In 2018, I took an interest in film photography. I started focusing on the mundane moments—the ones often missed. I released photo books, had work featured in magazines, and participated in art shows. That’s when I learned to notice.

And in 2024, I decided to take my love for film seriously. I started going to film festivals, hosting screenings, writing reviews, and learning what it takes to make a film. This past summer, I had the chance to work on two feature-length films—one a DIY, guerilla-style shoot and the other more traditional. That’s when I learned how to be on set.

In the Making

Which brings me to today. I’ve always wanted to make a film, but I never knew how to start. It felt impossible: Where do you find a team? Where do you get equipment? How do you pay for it? Distribute it?

But when I step back, I can see how every project I’ve ever worked on—whether it was a business, a book, a game, a mobile app, an art show, or an event—was a stepping stone. Each taught me a valuable lesson in the filmmaking process: how to write, market, produce, revise, collaborate, and share.

Now, I’m working on Last Looks, a short film loosely inspired by the movie Elizabethtown. The question at its heart is: “If you knew you were going to see something for the last time, would it change how you act or what you say?”

The original concept was about a character moving away, a sprawling story across multiple locations with colorful environments. But as I thought about budget and complexity, I simplified the setting to a single location: an art gallery. And the title of the fictional art show is Last Looks, mirroring the story’s theme.

As I thought about filming and editing, I simplified the style to be shot in one take. I want the film to feel immersive, from the perspective of the artwork. This idea came from my love of eavesdropping in art galleries—listening to strangers critique the pieces on the walls—and from films like Before Sunrise and Frances Ha, where movement and dialogue guide you through an emotional journey.

To structure the story, I turned to a framework called The Story Circle. It’s a simplified hero’s journey: You. Need. Go. Struggle. Find. Take. Return. Change. The idea is that a character starts in their comfort zone, steps into chaos in search of something, and returns changed.

But I hit a wall with dialogue. Fabricating what I thought people would say felt forced. Then I stumbled upon advice from Quentin Tarantino: write what you feel, write what you know, and write dialogue you want to hear. That freed me to draw from personal experiences, to simplify, focusing on facts and feelings instead of inventing conversations from scratch.

From there, I started unloading everything I’d been simmering on for months. I mapped out the story with the eight steps of the Story Circle, created an outline, and then sketched out a storyboard to visualize it.

Now, I have a title, a story, a vision, a framework, a storyboard, and a growing network of creative collaborators. And I have all of you—this supportive community that encourages me to keep pushing forward.

Even when this project is complete, I know it will be just one step in a longer journey. It’s a stepping stone—an artifact of who I am right now, in the making.

Thanks for being here.
— Justin

10) The Remarkable Life of Ibelin

The Remarkable Life of Ibelin documents the story of Mats Steen, a Norwegian gamer who died of a degenerative muscular disease at the age of 25. It uniquely blends World of Warcraft video game footage with real-life conversations, creating a moving tribute to the impact Mats had on others. It’s funny, emotional, and proof of how friendship, community, and love can exist in a digital world. (Streaming on Netflix)

9) Conclave

Conclave is a nuanced political thriller set within the Vatican, where 118 Cardinals grapple with power struggles following the Pope’s death. The film balances high tension with slow deliberation through a smart script and a sharp ensemble cast. Its cinematography is stunning and contrasts old-fashioned rituals with modern-day habits. Even without a deep knowledge of Catholicism, Conclave offers an engaging glimpse behind the Vatican’s closed doors with quiet scenes and a loud message. (Streaming on Peacock)

8) No Other Land

No Other Land is an unsettling documentary about the destruction experienced by a group of Palestinian villages at the hands of the Israeli military. Led by a Palestinian-Israeli collective of directors over five years, they film and protest the demolitions of homes and schools and the resulting displacement of their inhabitants, which were carried out to make way for Israeli military training ground. No Other Land displays the resilience of those displaced and serves as an urgent call to action to instigate change. (Seeking distribution)

7) Dune: Part Two

Dune: Part Two was hands down my favorite blockbuster of the year, offering a visually stunning and immersive experience. Even though I’m not familiar with the source material, the film is an ambitious achievement of sci-fi adaptation. The world-building is expansive, creating a vast and detailed universe. It’s such a cinematic masterpiece that, much like Star Wars and The Matrix, is bound to inspire future generations of filmmakers to come. (Streaming on Max)

6) Ghostlight

Ghostlight follows a construction worker who unexpectedly joins a community theater production of Romeo & Juliet. The play’s tragedies mirror the protagonist’s journey, blurring the lines between life and art in profound ways. With a real-life family as the film’s lead characters, the cast delivers relatable performances that enhance the film’s small-town charm. Ultimately, Ghostlight is a warm, tender reminder of how art reflects our lives and has the power to be a light during the darkest times. (Streaming on AMC+)

5) Dìdi

Dìdi is about an impressionable Taiwanese American teen struggling to navigate adolescence in 2008. He copes by finding solace in pop-punk music, skateboarding, and making videos. The film resonated with me, as its themes mirrored my own middle school experience in rural Pennsylvania. Dìdi beautifully captures the complexities of growing up and is a reminder to embrace who you truly are and appreciate those who accept you, even if they don’t fully understand you. (Streaming on Peacock)

4) My Old Ass

My Old Ass questions youth, mortality, and identity through the eyes of 18-year-old Elliott who meets her older self. Rather than being campy or high-concept sci-fi, the film is a grounded exploration of who we think we are vs. who we might become. It’s a genuine, funny, and refreshing coming-of-age dramedy that challenges us to ask not “What’s next?” but “What now?” (Streaming on Prime Video)

3) A Real Pain

A Real Pain centers on two estranged cousins reuniting in an airport, bound for Poland on a Holocaust-themed tour. Eisenberg and Culkin’s performances are grounded and charming, providing an intimate look into relationships with strangers, family, ourselves, and the past. It’s a heartfelt and humorous reflection on the complexities that bind us, showing that you should support those you love, even if they are a real pain in the ass. (For rent on Apple, streaming January 16 on Hulu)

2) Civil War

Civil War follows a group of journalists navigating the front lines of a speculative second civil war. On the surface, it’s a road trip film about a ragtag group traveling from place to place documenting the chaos. Beneath the surface, however, it becomes a brutal and visceral examination of war’s consequences, our growing desensitization to violence, and the ethical complexities of modern media. It’s a bold, unflinching look at the cost of violence, told through the lens of those closest to it. (Streaming on Max)

🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁 🥁

1) Sing Sing

In 2017, I chose to redefine myself as an artist which sparked a personal journey of discovery, healing, and expression, and it’s this transformative power of art that is at the heart of the upcoming film Sing Sing. Based on the real-life Rehabilitation Through the Arts program at Sing Sing Maximum Security Prison, Sing Sing follows a wrongfully imprisoned man who finds purpose through theater. With a cast primarily made up of formerly incarcerated actors, Sing Sing beautifully showcases the resilience of the human spirit and underlines the simple truth that art is empowering, healing, and important. (Coming soon to Apple)

📣 Honorable Mentions

Here are a few films that didn’t quite make my top 10 but still deserve a shoutout for their unique vision or message: The Last Stop in Yuma County, I Saw the TV Glow, It’s What’s Inside, and Join or Die.

Thank you for reading, for following along, and for your trust. I hope I’ve introduced you to something new, inspiring, or resonant this year.

— Justin

📝 Reviewing: Juror #2 (2024)

We're only as sick as our secrets.

Having sat in on a murder case, been selected for a jury, and stood as a defendant in court, I find the legal process fascinating. It’s remarkable that we still adhere to the tradition of trial by jury. For anyone summoned for jury duty but yet to experience it, I’m always happy to share my insights, as I believe jury duty is an integral pillar of society that deserves to be taken seriously.

With that, I appreciate courtroom dramas. When done well, they feel like an intense standoff between two teams vying for control. The language, positioning, timing, and strategy employed to sway the verdict make these stories compelling. This creates a lot of potential for Juror #2.

Juror #2 stars Toni Collette, J.K. Simmons, Kiefer Sutherland, and Nicholas Hoult, who plays Justin—a juror who quickly begins to suspect that the defendant might not be guilty. Most notably, the film is directed by Clint Eastwood, who, at 94 years old, continues to work. With over 40 director credits to his name, Juror #2 marks his latest effort.

The film’s hook is that, as the story unfolds, Justin becomes increasingly convinced that he may have accidentally killed the victim. At the same time, he is about to become a father, presenting him (and the audience) with a complex moral dilemma to juggle.

Since a successful courtroom drama hinges heavily on the use of words, the dialogue feels clunky here. There are moments when events conveniently drive the plot rather than unfold realistically. The film also lacks setup and nuance, moving quickly from scene to scene without presenting much creativity or interpretation. It feels like a direct, uninspired transfer of the screenplay to the screen. Additionally, the use of a slight Roshomon-style narrative—revisiting the same flashback repeatedly—becomes tiresome.

While I applaud Clint Eastwood for continuing to direct at his age, the film’s shortcomings are difficult to dismiss. Its plain presentation comes off as old-fashioned, dated, and Lifetime-like. Juror #2 is available to stream on Max.

📺 Watching: Photographer (2024)

Make them curious, make them care, make them want to learn.

From Academy Award-winning filmmakers and partners E. Chai Vasarhelyi and Jimmy Chin, Photographer focuses on visual storytellers to see what makes them click. Each hour-long episode follows the life of an iconic photographer, tracing their journey from career beginnings to present-day projects.

In a digital world where everyone carries a camera in their pocket and nearly every moment is documented, it’s easy to lose sight of the power of photography. But photographs not only help us learn they also allow us to remember. Learning about the people behind the lens and how they inspire others reminded me that photography remains both an art form and an educational tool.

I particularly enjoyed episode two which features Anand Varma as he attempts to capture the transformation of an egg into a baby chick and the techniques he had to uncover to make it all possible. Photographer is available to stream on Disney+.

🎧 Listening To: Dijon

But there you go again putting on your own rodeo again
There you push me out just to flash that smile and lasso me in

Dijon is a relatively new discovery for me. Like Lizzy McAlpine’s Five Seconds Flat, the YouTube algorithm introduced me to his short film, Absolutely. The film initially feels like a jam session unfolding during the after-hours of a house party. But as the songs progress, the camera gradually pulls back, revealing a soundstage. It’s as if he’s inviting the audience into a “real” space designed to reflect the raw authenticity of his sound—or perhaps to recreate the moments when these songs first came to life.

I have a deep appreciation for artists who transform their albums into visual experiences. As someone who listens to albums from start to finish, I admire the intentionality and artistry it takes to convert a cohesive auditory journey into a compelling visual narrative. For a live rendition of “Many Times,” you can watch it on YouTube. Or, for a more polished version, the track is available to stream on Spotify.

📣 Recommending: Sleep No More

We can never go back to Manderley again…

Sleep No More is an immersive theatrical experience set in the McKittrick Hotel in New York City. It’s a film-noir-inspired adaptation of Shakespeare’s Macbeth, and the show's final performance will take place on January 5, 2025, after an impressive 14-year run. Though it has been extended many times, this run marks the end of its journey. And I was fortunate enough to snag a ticket during a recent visit to New York.

Without spoilers, it’s unlike anything I’ve ever seen. The audience is given no program, is required to wear a mask for the entire three-hour duration of the show, and there is no speaking from either the actors or the audience. The production features approximately 25 actors, each an option for the audience to follow throughout the hour-long story. You’re encouraged to trust your intuition and choose your own adventure, meaning even after multiple visits, one might not have seen a fraction of what the show has to offer.

It’s disorienting, overwhelming, voyeuristic, and erotic. The 100,000-square-foot, five-story set was stunning. The design of the 100 rooms was mesmerizing. And the acrobatic choreography was impressive. I wish the show could be translated into film so more people could experience this unique feat. Sleep No More is playing in New York City through January 5th.

Thanks for being here.
— Justin

📝 Reviewing: Conclave (2024)

There is one sin which I have come to fear above all others… certainty. If there was only certainty, and no doubt, there would be no mystery. And therefore, no need for faith.

Edward Berger’s Conclave, based on the 2016 novel, is a fictional portrayal of the power struggle among 118 Cardinals in the Vatican following the death of the Pope. At its core, it’s a political thriller that draws relevant parallels to real-world figures—especially in the U.S.—who have sidestepped accusations of crime and corruption.

While Conclave moves quickly with political intrigue, it’s also slow and meticulous, finding tension in the smallest of moments. Yet, it’s never so slow that it loses your attention. This is achieved through its cinematography, with a striking color palette that pops off the screen. The compositions aren’t just visually appealing; they serve the storytelling, subtly reinforcing the film’s power dynamics. Thematically and tonally, Conclave is reminiscent of 2008’s Doubt, though it’s much more beautiful to look at.

What stands out, too, is the modern setting—Cardinals smoking and scrolling on their phones—creating a fascinating juxtaposition between the ancient institution and present-day realities. Ralph Fiennes, Stanley Tucci, and John Lithgow deliver excellent performances, making every sharp line of dialogue land, which is imperative for a film mainly about men arguing.

Though I’m not deeply familiar with Catholicism or religious practices, I still enjoyed what was going on behind the Vatican’s closed doors and closets. Conclave is currently available to stream on Peacock.

📣 Recommending: Fly (2024)

I want to live every day, all day as hard a I can. Because we realize that you could go any day.

Like Free Solo, which took to rock climbing, The Deepest Breath, which plunged into diving, and Skywalkers: A Love Story, which scaled buildings, Fly soars through the sport of BASE jumping. Over seven years, this National Geographic documentary follows three couples who test the limits of love, life, and gravity itself.

I learned that BASE stands for the four categories of jump points: Buildings, Antennas, Spans, and Earth. And like rock climbers with “El Cap” or skaters with “El Toro,” BASE jumpers also chase iconic jump spots they call “exits.” It’s fascinating how each subculture has its own language, landmarks, and lore.

But Fly isn’t just about the sport. In fact, it doesn’t spend much time on the history, techniques, or latest boundary-pushers at all. Like its predecessors, it asks: when you have something—and someone—to lose, why selfishly risk your life? What drives people to gamble everything for a few minutes of flight?

One of the film’s most poignant moments comes when the filmmakers ask their subjects what they’d want viewers to know if they didn’t survive. One responds: “Don’t feel sorry for me. Just be happy I lived my life the way I wanted.” It’s a bold reminder of how some embrace life’s fragility by chasing its most precious moments. His choice to recognize the preciousness of every moment is not for everyone, but I love getting a glimpse into why it works for some. Fly is available to stream on Disney+.

📣 Recommending: Key Lime Trailer

All this? Over a smoothie?

This summer, I had the privilege of working on a feature film written, directed, and starring my friend Justin Heinz. The story follows Roni, who, after losing her job as a barista, decides to reinvent herself by starting a smoothie business. She enlists the help of her well-meaning but clueless friends, Brett and Jared, to bring her dream to life.

However, their ambitions take a wild turn when they stumble upon the legendary Mr. Lime Cereal recipe. What begins as a simple venture quickly spirals into chaos, leading to shady deals and moral compromises in a tangled web of ambition gone awry.

Key Lime is aiming for a Summer 2025 release. Stay updated on Instagram, add it to your watchlist on Letterboxd, and check out the trailer on YouTube!

🎧 Listening To: How To Build A Happy Life

Even when we’re trying to do nothing, we’re not doing nothing.

The How To podcast— hosted by Arthur Brooks and presented by The Atlantic — focuses on various aspects of building a fulfilling and meaningful life. Each season takes on a different lens, from How to Build a Happy Life to How to Talk to People and How to Keep Time.

This latest season is a curated “best-of” of their favorite episodes from past seasons highlighting making space and finding meaning. One episode that resonated with me features professor Ashley Whillans alongside Arthur Brooks as they discuss how to rethink the time you crave versus the time you have. This episode is worth a listen for those looking to reshape their relationship with time. How To Spend Time on What You Value is available to stream on Spotify.

Thanks for being here.
— Justin

📝 Reviewing: Anora

People see what they want to see. They never ask who you really are.

Sean Baker has a history of creating films that explore the nuanced lives of sex workers. His latest film, Anora, winner of the Palme d’Or at the 2024 Cannes Film Festival, continues with that trend.

The film centers on Ani (Mikey Madison), a young sex worker in New York who marries the son of a wealthy Russian oligarch. Marketed as “a modern-day Cinderella story,” I don’t feel that Anora delivers on that comparison. Cinderella’s tale is one of hope, kindness, and transformation, yet this film devolves into a silly, tedious buddy comedy.

While Anora does carry a constant tension reminiscent of Uncut Gems, it lacks the underbelly grit that made the New York of Uncut Gems feel lived-in and immersive. Anora‘s depiction of New York feels like a facade, despite Baker’s use of real-life workers in real-world settings. Additionally, the flawed protagonist in Uncut Gems had layered motivations you couldn’t help but root for despite his shortcomings, but Anora struggles to evoke the same connection.

Because the wealthy Russian family can pay their way out of harm, this diminishes the stakes and any sense of consequence. The supporting characters are unlikable and undermine the gravity of the film’s subject matter. A story involving sex work should have an empathetic, thoughtful lens. But here, it feels dismissive rather than insightful.

While Baker’s commitment to telling stories from this specific community is appreciated, Anora ultimately feels shallow and disjointed, its characters applying more slapstick than lipstick. Anora is currently playing in theaters.

📣 Recommending: Cabel Sasser, 2024 XOXO Festival

XOXO was a conference that brought together artists and creators to share their stories of working online. In this year’s festival—its final one—Cabel Sasser, founder of Panic who created Firewatch and Playdate, shared a story about how a trip to McDonald’s led him down a rabbit hole of history, creativity, collecting, and remembering. It’s a story that unfolds in an unexpected and touching way—a tribute to why we should always read the plaque and document your work. Cabel’s presentation is available to stream on YouTube.

Thanks to my friend Livvy for sharing this with me.

🤔 Thinking About: The Story Circle

Whatever is going on with me at the time will find its way into the piece. It has to or the piece isn’t worth making.

— Quentin Tarantino

Dialogue in film is so important to me. When characters take distinct, uninterrupted turns while speaking, I check out. When characters frequently call each other by name, I check out.

But I get it—writing dialogue for characters is difficult. What they should say is different from what you think they would say, which is different from what they would actually say.

If you listen closely, what people say in real life isn’t always interesting. It’s messy, bumbling, contradictory, and incomplete—but it’s real. Recreating this reality in a fictitious story is the magic glue that elevates a story from boring to believable. As I work on writing my own film, unlocking this magic has been the primary blocker delaying my progress.

In my research to overcome this, I discovered a new-to-me story framework called The Story Circle. Created by Dan Harmon (Rick and Morty, Community), The Story Circle is a simpler take on The Hero’s Journey and differs slightly from other story structures like Save the Cat and the Three Act. I’ve been reflecting on this framework and how it can help what’s going on with me find its way into my piece.

📺 Watching: Tetragrammaton with Rick Rubin

When traveling, my favorite thing to do is wander—to take the side street, walk down that alleyway, or turn that random corner. I find that’s the best way to experience a new place—by getting lost in an already unfamiliar setting. Often, this has led to some of my favorite photographs, which then calcify my memories of a place.

I recently went to New Orleans to celebrate a wedding. While wandering, I noticed that it was very much a “stoop city.” There were many people, often teens, sitting on front steps and watching the world go by. At the wedding, a friend shared a page with me from Matthew McConaughey’s book, Greenlights. It was a love letter to New Orleans and captured my experience so eloquently. It was reassuring to realize that my perspective wasn’t unique—that there’s just something special about that town.

McConaughey recently sat down with Rick Rubin to discuss film, relationships, spirituality, and life. The page from Greenlights is below and Rubin’s interview is available to stream on YouTube.

Thanks to my friend Ryan for sharing this page with me.

Dear New Orleans,

What a big, beautiful mess you are. A giant flashing yellow light—proceed with caution, but proceed.

Not overly ambitious, you have a strong identity, and don’t look outside yourself for intrigue, evolution, or monikers of progress. Proud of who you are, you know your flavor, it’s your very own, and if people want to come taste it, you welcome them without solicitation. Your hours trickle by, Tuesdays and Saturdays more similar than anywhere else. Your seasons slide into one another. You’re the Big Easy…home of the shortest hangover on the planet, where a libation greets you on a Monday morning with the same smile as it did on Saturday night.

Home of the front porch, not the back. This engineering feat provides so much of your sense of community and fellowship as you relax facing the street and your neighbors across it. Rather than retreating into the seclusion of the backyard, you engage with the goings-on of the world around you, on your front porch. Private properties hospitably trespass on each other and lend across borders where a 9:00 A.M. alarm clock is church bells, sirens, and a slow-moving eight-buck-an-hour carpenter nailing a windowpane two doors down.

You don’t sweat details or misdemeanors, and since everybody’s getting away with something anyway, the rest just wanna be on the winning side. And if you can swing the swindle, good for you, because you love to gamble and rules are made to be broken, so don’t preach about them, abide. Peddlin worship and litigation, where else do the dead rest eye to eye with the livin?

You’re a right-brain city. Don’t show up wearing your morals on your sleeve ’less you wanna get your arm burned. The humidity suppresses most reason so if you’re crossing a one-way street, it’s best to look both ways.

Mother Nature rules, the natural law capital “Q” Queen reigns supreme, a science to the animals, an overbearing and inconsiderate bitch to us bipeds. But you forgive her, and quickly, cus you know any disdain with her wrath will reap more: bad luck, voodoo, karma. So you roll with it, meander rather, slowly forward, takin it all in stride, never sweating the details. Your art is in your overgrowth. Mother Nature wears the crown around here, her royalty rules, and unlike in England, she has both influence and power.

You don’t use vacuum cleaners, no, you use brooms and rakes to manicure. Where it falls is where it lays, the swerve around the pothole, the duck beneath the branch, the poverty and the murder rate, all of it, just how it is and how it turned out. Like a gumbo, your medley’s in the mix.

—June 7, 2013, New Orleans, La.

Thanks for being here.
— Justin

P.S. Apparently I’ve always had a lot of thoughts on these types of things:

Denver is fortunate to host a vibrant film scene, featuring unique programming from theaters like the Sie, Mayan, and Alamo Drafthouse. One of my favorite weeks of the year is just around the corner: the Denver Film Festival. From red carpet premieres of C’mon C’mon to under-the-radar documentaries like Bad Axe and international gems such as The Taste of Things, DFF has introduced me to many of my favorite films, and I eagerly look forward to the festival each year.

In its 47th year, the festival will showcase 100+ films for 10 days across 5 venues, as well as after-parties, special guests, and immersive experiences. I’ve thumbed through this year’s program to help you identify the cream of the crop for an excellent festival experience. Check out my picks below—these are the films likely to make waves during awards season or those you may only have the chance to see at the festival.

Nickel Boys (140 mins)

It’s about: two Black teenagers, Elwood and Turner, who endure the brutal realities of the Nickel Academy, a reform school in 1960s Florida. While Elwood holds on to Dr. King's teachings of hope and justice, Turner takes a more cynical, survivalist approach, creating a tense dynamic between the two. Their bond and choices are tested as they navigate a corrupt system, leading to shocking revelations about their fates and the lasting legacy of the school's dark past.
Recommending it: for its bold cinematography and strong potential as a major Oscar contender.
See it if you like: The Shawshank Redemption and author Colson Whitehead.
Details: English, Narrative, Feature, Drama
Notes: Includes a post-film conversation with director RaMell Ross
Showtimes: Saturday, November 2nd // 3:15pm // AMC CO+9

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Bob Trevino Likes It (102 mins)

It’s about: Lily, who experiences a fallout with her father, leading him to shut her out completely and sever all communication. In her attempts to reconnect through Facebook, she accidentally befriends another man with the same name, who may provide the fatherly support she has been yearning for.
Recommending it: because it won both the Narrative Feature Grand Jury and Narrative Feature Audience Awards at SXSW.
See it if you like: nicecore and coming-of-age dramedies.
Details: English, Narrative, Feature, Drama
Notes: Includes a post-film Q&A with writer and director Tracie Laymon
Showtimes: Sunday, November 3rd // 1:00pm // Denver Botanic Gardens

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Universal Language (89 mins)

It’s about: seemingly unrelated tales set between Tehran and Winnipeg. Negin and Nazgol stumble upon a sum of money frozen beneath the ice of the sidewalk and embark on a quest to retrieve it. Meanwhile, Massoud guides a group of bewildered tourists through an increasingly bizarre walking tour of Winnipeg's historic sites, while Matthew leaves his job with the Québec government to embark on a mysterious journey to reconnect with his estranged mother.
Recommending it: since it’s been quietly taking home awards on the festival circuit and is Canada’s official submission for the 'Best International Feature Film' at this year’s Oscars.
See it if you like: absurdity, Wes Anderson, and Tim Horton’s.
Details: Farsi, French, Narrative, Feature, Comedy
Showtimes:
Thursday, November 7th // 5:00pm // Sie FilmCenter
Friday, November 8th // 9:00pm // Sie FilmCenter
Saturday, November 8th // 11:00am // Sie FilmCenter

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A Real Pain (89 mins)

It’s about: two cousins reuniting in an airport shortly after the death of their grandmother, bound for Poland on a Holocaust-themed tour. Eisenberg and Culkin’s performances are grounded, grating, charming, and funny, providing an intimate look into profound relationships with strangers, family, ourselves, and the past. I’ve never used the word “whipsmart” before, but this is the epitome of a “whipsmart” dramedy, and we'll likely be hearing more about Culkin’s performance during awards season.
Recommending it: because it was one of my favorite films from this year’s Sundance.
See it if you like: Little Miss Sunshine and Roman Roy.
Details: English, Narrative, Feature, Comedy
Showtimes: Sunday, November 3rd // 6:30pm // Denver Botanic Gardens

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No Other Land (95 mins)

It’s about: the destruction experienced by a group of Palestinian villages in the southern West Bank at the hands of the Israeli military. Headed by a Palestinian-Israeli collective of four directors over the course of five years, they film and protest the demolitions of homes and schools and the resulting displacement of their inhabitants, which were carried out to make way for Israeli military training ground.
Recommending it: because the filmmakers described it as “both a document of a war crime happening now in the occupied West Bank, and a plea for a different future, one without occupation and oppression, one which is based on empathy, respect for international law, and true security and equality between Palestinians and Israelis. It has never been more urgent.”
See it if you like: 20 Days in Mariupol and being moved to take action.
Details: Arabic, Hebrew, Feature, Documentary
Showtimes:
Saturday, November 2nd // 10:30am // AMC CO+9
Sunday, November 3rd // 7:45pm // AMC CO+9
Thursday, November 7th // 4:15pm // AMC CO+9

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Champions of the Golden Valley (81 mins)

It’s about: the remote mountain villages of Bamyan, Afghanistan, where a newfound passion for skiing attracts young athletes to tackle the high peaks. With minimal gear and makeshift skis, young villagers from rival ethnic groups convene for a thrilling mountain race, where they find they have more in common than they may have thought. Champions of the Golden Valley is the uplifting tale of young people learning incredible camaraderie and resilience on the slopes — lessons they must call upon when they experience the shocking collapse of their country.
Recommending it: because it’s relevant to a Colorado audience but also contains a profound message and call to action.
See it if you like: underdog stories and tearing up watching Netflix sports docs.
Details: English, Persian, Documentary, Feature, Sports
Notes: Includes a post-film Q&A with director Ben Sturgulewski and producer Katie Stjernholm
Showtimes:
Saturday, November 9th // 3:30pm // Holiday Theater
Sunday, November 10th // 10:30am // Sie FilmCenter

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Ben and Suzanne, A Reunion in 4 Parts (110 mins)

It’s about: Ben, who journeys to Sri Lanka to rekindle his relationship with Suzanne, an American NGO worker, after a long separation. However, when Suzanne's boss demands that she work during their vacation, their love is tested by a dilemma: desire versus duty. As Suzanne grapples with the responsibilities of her job, Ben does everything he can to revive their intimacy, leading to candid conversations and chaotic twists as New Year's Eve—and Ben's departure—looms ahead.
Recommending it: because I can’t have a Currentss issue without recommending at least one rom-com.
See it if you like: Modern Love and The Smiths.
Details: English, Narrative, Feature, Romantic
Notes: Includes a post-film Q&A with actor Anastasia Olowin
Showtimes:
Saturday, November 2nd // 6:45pm // AMC CO+9
Sunday, November 3rd // 10:00am // AMC CO+9
Monday, November 4th // 4:15pm // AMC CO+9

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The Fire Inside (110 mins)

It’s about: the inspirational true story of boxer Claressa Shields from Flint, Michigan. As a high school junior and aided by her tough-love coach, she pushes past all limitations to become the first American woman to win an Olympic gold medal in boxing. But even at the pinnacle of success, Claressa has to reckon with the fact that not all dreams are created equal, and the real fight has only just begun.
Recommending it: because writer Barry Jenkins also wrote Moonlight and produced Aftersun.
See it if you like: Air, boxing, and the Olympics.
Details: English, Narrative, Feature, Drama
Notes: Includes a post-film conversation with actor Ryan Destiny
Showtimes: Sunday, November 3rd // 2:00pm // Holiday Theater

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Heartless (15 mins)

It’s about: a relationship therapist who must abandon her practical instincts to evade a coroner, crash her own funeral, and reconnect with her wife in a quest to rediscover her missing heart after a doctor declares her legally dead.
Recommending it: because it’s written and directed by Ann Allsopp who I recently met and worked alongside with on the set of the film, Pleasure Chest.
See it if you like: supporting local filmmakers.
Details: English, Narrative, Short
Showtimes:
Thursday, November 7th // 7:00pm // Sie FilmCenter
Friday, November 8th // 4:00pm // Sie FilmCenter

Buy Tickets

Thanks for being here.
— Justin

📝 Reviewing: Plus One (2019)

Love isn’t about chance run-ins or cute accidents. It’s simpler than that. It’s about finding someone you want to hang out with as long as humanly possible and just trying not to screw it up.

As I prepare to attend a wedding in November, I decided to revisit Plus One, one of my favorite rom-coms. The film follows longtime friends Ben and Alice, played by Jack Quaid (The Boys) and Maya Erskine (Pen15), who agree to be each other's plus one for a summer packed with weddings.

** Fun fact: Jack Quaid is the son of Meg Ryan (When Harry Met Sally, Sleepless in Seattle, You’ve Got Mail), so he was destined to be a rom-com star.

Plus One embodies all the quintessential tropes of a rom-com—it’s charming, smart, and funny. But what sets it apart is its relatability. At a wedding, we’ve all endured cringeworthy speeches, awkward run-ins with old flames, and had one too many drinks at the open bar. Yet, we still shed a tear during the vows, reflecting on our own lives as we witness the start of someone else’s.

However, on this viewing—my sixth—I related differently. Sure, relationships are uncertain, but everything about the future is uncertain. We don’t commit to relationships because we’re sure; we commit because it’s fun, it’s surprising, it’s worth it. Committing is made even easier when a strong friendship serves as the foundation for a romantic relationship since connection, acceptance, and shared memories are already present.

Beyond the on-screen chemistry, humor, and romance, Plus One offers a lasting lesson: if you’re too determined to find "the one," you might miss the one who’s been there all along. Plus One is available to stream on Hulu and Netflix.

📺 Watching: The Penguin (2024)

The city is meant to be yours, sweetheart. What are you going to do to get it?

While I’m not typically drawn to superheroes, I’ve always been fascinated by the Batman universe. I think it’s because Batman is a superhero without superhuman powers, instead relying on intellect and technology to combat crime. I’m also attracted to this world because Gotham feels gritty and grounded, rooted in real-life cities like Manhattan and Pittsburgh (my hometown, where The Dark Knight Rises was shot).

The Penguin, a spin-off of the film The Batman (2022), is a limited series exploring the rise of the popular villain in Gotham's criminal underworld. Colin Farrell (The Banshees of Inisherin) and Cristin Milioti (How I Met Your Mother) lead the cast, but it’s Farrell’s performance and physical transformation into the Penguin that steal the show.

One of the show’s biggest accomplishments is that it stands on its own. Even if the Batman universe were removed, it would remain a solid story with well-realized characters navigating trauma, class, wealth, and desire.

Although the series is just beginning, the first episode hints at a promising gangster noir, exploring the dark journey of a man driven to do anything for power in Gotham City. The first episode of The Penguin is available to stream on Max.

🎧 Listening To: Bon Iver

Nothing's really happened like I thought it would.

One of my most cherished Bon Iver memories is from 2009 at the Austin City Limits music festival. It was raining and cold, but the crowd braved the weather, drawn by the allure of Bon Iver's haunting performance. There was something magical about finding comfort in discomfort, surrounded by strangers united in the experience. Before the final song, Justin Vernon asked the crowd to scream together toward the sky. As we did, the rain stopped. It was one of those rare, surreal moments where I felt deeply connected to the people around me and to the universe itself.

After a five-year hiatus from new releases, Bon Iver has just gifted us with a fresh track, “S P E Y S I D E,” and announced an upcoming EP titled SABLE,, set to drop on October 18th. “S P E Y S I D E” is available to stream on Spotify.

👷‍♂️ Working On: Key Lime & Pleasure Chest

I’ve always loved movies. Since I was a teenager, they’ve been how I connect with the world—how I understand others’ experiences and gain new perspectives. This summer, I got to make my dream of working on set a reality by helping on two feature-length films, Key Lime and Pleasure Chest. Here are a few reflections from that experience:

#1 Always Ask
We don’t know what the future holds and how much time we have here, and for me, making a film is something I must accomplish in this life. So this year, I decided it was time to stop making excuses and start making progress. In June, I reached out to a filmmaker acquaintance after he posted about a new feature film he was working on called Key Lime. It’s a no-budget film, so he was looking for all the help he could get. I asked if I could be part of it, and to my surprise, he said yes.

My first day on set, I was blown away by the warmth and openness. Everyone was so welcoming, asking about what I was working on and offering their help even before I built a rapport with them. It felt like I had stumbled into a creative family. You just never know what might come out of a simple ask—like spending the whole day shooting in a mansion.

#2 It Takes an Army
While working on Key Lime, I met Sterling, another filmmaker who was working on a rom-com with a much bigger budget. We hit it off, and soon enough, I was on his set as well.

They say a film is born three times—when it's written, when it’s shot, and when it’s edited. What I’ve learned is that filmmaking is a massive collaboration. Every detail, from the props and lighting to the wardrobe and set design, requires experts in their own right. It’s truly an army of artists coming together. Everyone wears multiple hats, and without this collective effort, the magic we see on screen wouldn’t happen.

#3 Hurry Up and Wait
On set, you hear this phrase constantly, and it’s spot-on. Looking back at my photos from set, I’ve got so many of people just hanging out—on their phones, lounging between shots, waiting for a lens swap, or the lights to be just right for a scene.

There’s a lot of downtime, but this “waiting” has its own value. It teaches you patience, the importance of being prepared, and how to adapt to last-minute changes. It’s part of the process—maximizing those quiet moments before the cameras start rolling again.

#4 Everyday Wins
You’d think the release of the film is the final goal, but making a movie is a journey full of little wins and endless challenges. Every day, something unexpected happens. Now I understand why so many films are shot on soundstages—it gives you more control over the chaos.

The lighting, weather, technical issues, or public interruptions are just a few of the things you deal with. But what I’ve realized is that it’s not about perfection. It’s about solving a million tiny problems with a million little victories. That’s where the magic happens. And it’s the memories of these moments, of the people I worked with, that I’ll hold onto long after summer ends remembering the weird little worlds I built with these crews.

#5 Be Yourself
This might be the most important lesson of all. I’ve found that the more I lean into being myself—unapologetically, fully, creatively—the more life opens up for me. Being kind, generous, interested, and sometimes overly romantic... those are my values, and the more I embody them, the more positive energy seems to find its way back to me.

This summer taught me a lot about filmmaking. But it also reminded me to stay true to myself, no matter what. That’s how you build meaningful connections, live a fulfilling life, and write beautiful stories…..on-screen and off.

Thanks for being here.
— Justin

📝 Reviewing: My Old Ass (2024)

But no more, if you let me inside of your world
There'll be one less lonely girl

If you could meet your older self, what would you ask? And if you had the chance to change your life, would you? These are the questions at the heart of the upcoming film My Old Ass, where 18-year-old Elliott confronts these profound dilemmas during a mind-bending mushroom trip with friends. As the trip takes an unexpected turn, Elliott comes face-to-face with her 39-year-old self, setting off a journey that could easily drift into high-concept sci-fi or cheesy camp.

But this film resists those paths, opting instead for a grounded, authentic exploration of youth, mortality, and sexuality. Elliott's experience becomes a poignant reflection on the transformation between what she thought she knew about herself, who she is now, and who she might become. This theme resonated even more as I watched it in a packed theater on the opening night of CinemaQ, Denver’s queer film festival.

As the credits rolled, I couldn’t help but think, “I wish I wrote that.” The script is genuine, sharp, and funny AF, blending witty dialogue with an insightful narrative. But My Old Ass is more than just a coming-of-age dramedy; it’s a heartfelt reflection on the boldness of youth and the wisdom that only time can bring. It’s young, reckless, a surprise, and a delight.

If you could meet your older self—if you had the power to change your life—would you? We learn from experience, not advice. Instead of fixating on "What’s next?" maybe the real question is, "What now?" because time doesn’t wait—it rushes by until, before you know it, you’re an old ass. My Old Ass will have a limited theatrical release on September 13.

📝 Reviewing: Dìdi (2024)

But can we fake it? Can we make believe?
I'm so full of love, it deeply sickens me

In middle school, my nickname was "Opie." It sounds cool at first—until you realize it’s short for Ethiopian. The thing is, I grew up in Butler, PA, home of the Bantam Jeep, a 98% white population, and the recent Trump assassination attempt. As a tan-skinned kid, I stood out. When I tried to correct the bullies by telling them I wasn’t Ethiopian but Thai, they demanded I speak Taiwanese to prove it. When I tried to correct them again, well… I decided to find solace and safety in things like emo and pop-punk music, skateboarding, and art.

I loved—and still love—bands like Hellogoodbye and The Starting Line. My AIM screen name was “hiddencinema,” I discovered synthesizers through Motion City Soundtrack, blacked out the pink tag on my stepsister’s hand-me-down Keds with a Sharpie, spent summers getting skate “clips” with the few friends I had, agonized over my MySpace Top 8, and made plenty of cringe-worthy decisions just to look cool in front of my crushes.

So when I saw Dìdi, a film about an impressionable and bullied 13-year-old Taiwanese American in 2008 who went through nearly the same experiences—even down to the music and clothes—it hit me. I’ve never felt so seen by a film before. It’s about feeling torn between your Asian identity and being "just half," deciding whether to go by your given name or embrace a nickname, and the awkwardness, loneliness, and sense of being an outcast and a phony while also discovering who you really are.

In Dìdi, Chris, or "Wang Wang," learns how to skate, flirt, and love his family. But ultimately, he discovers it’s much harder to pretend to be something you’re not and far more rewarding to embrace who you truly are. This film reminded me that twenty years later, I’m still learning to embrace my true self—and it reminded me to love those who accept me, even if they don’t understand me. Dìdi is currently in theaters.

📣 Film Screening: Join or Die (2023)

In a world of increasing individualism, we must find ways to rebuild the social ties that once held us together.

For the past few months, I’ve been helping to develop The Company, a membership-supported third place designed for meeting, gathering, celebrating, and fostering community. My involvement stems from a deep belief in the power of intentional community-building because I understand that deep relationships don’t just happen—they’re constructed. While the benefits of community are obvious, it wasn’t until I watched the documentary Join or Die that I understood the social, financial, and political impacts.

Join or Die, inspired by Robert Putnam's book Bowling Alone, examines the state of community in America. The film explores three crucial civic questions: What makes democracy work? Why is American democracy in crisis? And what can we do to address it?

Join or Die is creative, engaging, and educational, making a compelling case for why you should join a club—and why the future of America might depend on it. We believe in this film’s message and are thrilled that The Company will host Denver’s only screening of this film on September 3rd. Tickets are available for purchase here. Join us. Or die.

Thanks for being here.
— Justin

📝 Reviewing: Sing Sing (2024)

This above all: to thine own self be true,
And it must follow, as the night the day,
Thou canst not then be false to any man.

In 2017, I went through a broken engagement, got a DUI, and turned 30 surrounded by people I didn’t care to be surrounded by. It was then that I made the conscious decision to audit my circle and find an environment of creative, inspiring, and motivating people.

I achieved this by injecting myself into the Denver art community, going to as many art shows as possible, meeting local artists, and reinventing myself by answering the question, “Are you an artist?” with “Yes.” What I learned is that when you pretend to be the person you want to be, eventually you don’t have to pretend anymore. That audit, reinvention, and act of courage resulted in a personal journey of discovery, acceptance, expression, and healing.

This brings me to the upcoming film, Sing Sing, which is based on the real-life Rehabilitation Through the Arts program at the Sing Sing Maximum Security Prison in New York. The film stars recent Oscar-winner Colman Domingo as Divine G, a man wrongfully imprisoned, who finds purpose through participating in a theater group with other incarcerated men. The group overcomes struggle and tragedy, banding together to perform an original production. The result is a performance that showcases the transformative power of art and resilience, offering them a chance to feel human again, even in inhumane conditions.

The biggest surprise is that the cast is primarily comprised of real-life formerly incarcerated actors. Knowing these actors were real alumni of the rehab program was already touching, but seeing the end-credits clips of their original performances from the program was utterly heartwarming. Art is important. Art is empowering. Art is healing. Sing Sing opens in wide release on August 9th.

🎧 Listening To: Armchair Expert with Ke Huy Quan

To this day, I'm very grateful to the American government at that time who allowed us into this country. And everything that's happened since.

My favorite event of the year is going to the Sie FilmCenter to watch the Oscars streamed on the big screen in a theater full of other film nuts like me. There are always oohs, aahs, cheers, and jeers. But in 2023, it was a theater full of sobbing viewers as Ke Huy Quan delivered his acceptance speech for his Best Supporting Actor role in Everything Everywhere All At Once.

If you aren’t familiar with Ke’s story, he fled Vietnam with his family at the age of seven, settled in a Hong Kong refugee camp, and then immigrated to the United States. He found early success in Indiana Jones and the Temple of Doom and The Goonies at a young age before experiencing a long gap in his acting career.

In a recent episode of Armchair Expert with Dax Shepard, Quan talks about struggling to find his identity, his determination to rediscover success in the industry, and the importance of representation and diversity in Hollywood. This episode of Armchair Expert is available to stream on Spotify.

📺 Watching: Inside Mark Zuckerberg's AI Era

A core part of our philosophy is we don’t believe there’s going to be one AI to rule them all. Our vision is that there’s going to be millions or billions of models out there.

There’s no denying that AI is dramatically shaping how people work and communicate, now and in the future. Recently, Mark Zuckerberg sat down with Bloomberg’s Emily Chang to discuss Meta’s shift in focus from the metaverse to AI, the importance of open-source AI models, and his personal evolution as a husband and father while leading a trillion-dollar company. Inside Mark Zuckerberg's AI Era is available to watch on YouTube.

👷‍♂️ Working On: Key Lime

It's worth a shot, for the smoothie.

An issue hasn’t hit your inbox in a while because I’M WORKING ON A MOVIE! Written, directed, and starring my pal Justin Heinz, Key Lime is about two bumbling yet well-meaning guys, Brett and Jared, who find themselves on a mission to help their friend, Roni, fulfill her dream of starting a smoothie business. While Roni’s passion ignites a spark in her friends, their venture turns when they stumble upon a tantalizing clue about the elusive recipe for the world-famous Mr. Lime Cereal. This secret ingredient could catapult their smoothies to legendary status.

Key Lime is an indie dark-comedy that reminds us that sometimes the most delicious victories come from the craziest adventures. We’re aiming for a local premiere in Denver later this year.

Thanks for being here.
— Justin

📝 Reviewing: Kinds of Kindness (2024)

There's only one constant in life, and that's death. We're all just trying to survive and find some kind of meaning. Some kind of kindness that might ease the pain of the inevitable ending that will come for as all.

Yorgos Lanthimos' Poor Things was one of my favorite films of 2023. It balanced absurdity with humor, the joy of curiosity, and the cost of love. Emma Stone's remarkable performance anchored the film with a captivating portrayal that added depth to its bizarre and mesmerizing world.

In his follow-up, Kinds of Kindness, Lanthimos crafts three loosely intertwined stories. The first story follows a man seeking to escape his predetermined path. The second focuses on a cop who questions his wife's demeanor after her return from a supposed drowning. The third tells of a woman searching for an extraordinary individual prophesied to become a renowned spiritual guide.

Much like Poor Things, Kinds of Kindness also contains absurdity, humor, and the lengths one would go to for love. However, in the latter, because it uses a triptych device, the narrative thread feels disjointed as each story ends before any character can grow.

The most distinct trait of a film that will remove me from immersion is its dialogue. If characters take turns speaking while frequently calling each other by name, I’m immediately removed from the film as that comes off as rigid and rudimentary. And Kinds of Kindness falls into that trap. Its dialogue and structure push the limits of coherence and believability, much like Darren Aronofsky’s Mother! which tests the boundaries of absurdity, shock, and metaphor to see what it can get away with.

My interpretation of Kinds of Kindness is that it explores the idea that people often do bad things in an attempt to achieve something good. While characters strive to be kind for love or acceptance, many are hurt along the way. Lanthimos seems to suggest that the path to kindness is fraught with missteps and unintended consequences.

I appreciate that Lanthimos’ distinctive style continues to provoke and intrigue, and I’m thrilled that studios are giving him the resources to continue creating unique works, but films of this kind, kind of leave me feeling Punk’d. Kinds of Kindness is currently playing in theaters.

📣 Recommending: Ghostlight (2024)

According to theater tradition and superstition, the ghostlight wards off spirits that are believed to inhabit theaters. It's thought to keep them company and prevents them from causing disturbances.

Ghostlight, the latest film from writer Kelly O'Sullivan and director Alex Thompson, is the follow-up to their debut, Saint Frances — which I highly recommend, especially if you’re a Lady Bird fan from the Midwest. Ghostlight tells the story of a construction worker who unexpectedly finds himself performing in a community theater production of Romeo & Juliet.

The familiar play and its tragedies are used to mirror similar themes in Ghostlight. This creatively blurs the lines between life and art making some of the film’s scenes even more profound as they’re true to the film’s play and its protagonist.

The cast delivers believable performances, bringing depth and relatability to their roles — a task made easier since the three leads are a real-life family. This small cast performing a small production in a small town makes the film feel close, both in location and emotion.

Ghostlight is a warm and tender reminder of how art can reflect and illuminate our lives, leading us toward understanding, connection, and the importance of being earnest. Ghostlight is currently playing in limited release.

Thanks for being here.
— Justin

📝 Reviewing: The Bikeriders (2024)

We don’t belong nowhere else. So we belong together.

In 2003, writer/director Jeff Nichols found a photobook on his brother’s coffee table (his brother being Ben from the band Lucero). The book, The Bikeriders, published by photographer Danny Lyon in the 1960s, chronicled the real-life Chicago Outlaws Motorcycle Club. Moved by its images and accompanying text, Nichols decided to make a film about it. The film, however, is a fictionalized version about a group called the Vandals, though many of the characters are based on those in the book.

Using photographer Lyon as the framing device, the film depicts interviews with numerous members of the biker gang, with an abundance of voiceover from one of the members’ romantic interests. However, the narrative quickly splits to focus on three other members of the crew. Because of this, there’s a bit of drifting from person to person and place to place, with occasional text overlays to orient us to where and when we are.

Due to the nature of using this voiceover interview approach, we’re told what to care about, but we never see why we should care about it. Therefore, there’s no emotional resonance to any of the events, motivations, or particularly the relationships in the film. Often, the characters appear one-dimensional, with low stakes and no growth.

Lately, I’ve been feeling a little lost and lonely. Lost in the sense of not having a strong anchor in my life. And lonely, not due to a lack of social activities, but a lack of connection. This has resulted in being overwhelmed by the plethora of possibilities on my journey to discover new communities to belong to.

I’ve recognized that there are a lot of correlations between my current state and this film’s shortcomings. Formulating a fictitious story from a series of photographs offered too much possibility for Nichols. The story sprawls and sputters into a conventional tale akin to any mafia film you’ve seen before. The decision to spotlight a few characters slightly instead of one completely meant there was no anchor, no direction, and no connection. And without those, it feels a little lost. The Bikeriders releases in theaters this Friday.

📖 Reading: The Saturday Night Ghost Club

Reality never changes. Only our recollections of it do. Whenever a moment passes, we pass along with it into the realm of memory. And in that realm, geometries change. Contours shift, shades lighten, objectivities dissolve. Memory becomes what we need it to be.

Billed as Stranger Things meets Stand by Me, The Saturday Night Ghost Club is a novel about a group of misfit kids who spend a summer investigating local ghost stories and urban legends. Set in a small town in 1980s Niagara Falls, the story follows Jake Baker reminiscing about his formative years spent with his eccentric Uncle Calvin, a paranormal enthusiast.

Author Craig Davidson presents the story through adult Jake, now a brain surgeon, reminiscing about his summer as a twelve-year-old. Throughout the novel, Davidson explores loss, trauma, and nostalgia. It’s a book about growing up in a small town, finding adventure in everything, and realizing that we might not know everything about the world. So far, it’s a poignant coming-of-age story that is heartfelt and introspective and I can’t wait to find out where it goes. The Saturday Night Ghost Club is available wherever you get books.

🎬 Watching: Death of the Follower

The ‘follow’ is a piece of internet architecture that felt closer to magic than anything that I’ve ever experienced in my life.

At this year’s SXSW, Jack Conte, co-founder and CEO of Patreon, delivered a keynote titled Death of the Follower & the Future of Creativity on the Web. Conte presented how the early internet empowered creators to easily reach audiences and build dedicated followings, enabling them to establish direct connections and cultivate community.

However, in recent years, there has been a shift to algorithm-focused platforms, which has disrupted the community-based model. These platforms prioritize content based on engagement and activity, making it challenging for creators to reach their audience.

While Conte focused on Patreon’s actions to combat this shift, he ultimately advocates for an internet where creativity can thrive independently of algorithms and the objectives of corporations. As a long-time artist who found great success on the early internet, Conte shares a vision for building a better way that art can exist on the web. Personally, as someone who started this newsletter as an experiment to replace social media with more connected conversations, I like and subscribe to this vision. Death of the Follower & the Future of Creativity on the Web is available to stream on YouTube.

Thanks for being here.
— Justin

📝 Reviewing: Perfect Days (2023)

Next time is next time. Now is now.

Upon seeing a man wake up, perform his morning routine, and begin his day with a can of Boss coffee from a vending machine, I was immediately transported to Tokyo. This was also my routine each day during my visit to Japan.

The man is Hirayama, an aging toilet cleaner in Tokyo who leads a meager and ordinary life. Beyond his structured rituals, he takes photos, savors music on cassette tapes, and immerses himself in books. Each day with Hirayama reveals how he takes pride in his work, makes time for a lunch break in the park, finds joy in everyday moments, and lives simply, speaking only when necessary. This intimate intentionality makes us feel like we’re there with him, fostering an immediate interest in his feelings.

While Hirayama doesn’t make music, draw, or write, paying attention is his way of living. It’s how he communicates with the world and those around him, even if he doesn’t communicate much at all. Therefore, he’s an artist. Like Hirayama, I am also a noticer and excel in paying attention, filtering, and remembering. But unlike Hirayama, I don’t naturally find peace and perfection in the everyday. That’s an art I’m still practicing. ‘Perfect Days’ is available to stream on Hulu.

🎧 Listening To: How to Win at Real Life

Games are a quick and fast way that we have figured out to encode different mental states and practical styles in a rule set, so you can just pick them up, and just like you can experience other people’s lives from novels, you can experience the world from completely different practical mindsets in games. That’s what makes them special.

The follow-up to ‘How to Talk to People’ and ‘How to Start Over’, ‘How to Know What's Real’ is the latest theme of The Atlantic's podcast season. In this episode, host Megan Garber talks with C. Thi Nguyen, an associate philosophy professor at the University of Utah, to discuss how games (arguing that rock climbing and yoga are games too) encourage us to step back, question each other, and question ourselves.

As someone who used to design and publish games and traveled the country teaching them to thousands, I believe this is the best piece of media that articulates the pure magic and positive impact games have on the world. ‘How to Win at Real Life’ is available to stream on Spotify.

🧱 Building: The Company

The Company is a membership-supported creative space in the LoHi neighborhood of Denver. A mix between a shared workspace, library, creative studio, and event space, it’s a place to meet, gather, celebrate, and build community.

I think we’ve all read the articles, listened to the podcasts, and seen the infographics about how people are lonelier than ever before. While initially, a lot of the blame was directed toward screens, recently it seems the cause has shifted to the lack of third places.

Coined by sociologist Ray Oldenburg in 1989, the term "third places" refers to informal public gathering spaces that are separate from the home (first place) and the workplace (second place). Examples of third places may include cafes, parks, pubs—or perhaps more notably, Cheers, Central Perk, and MacLaren's Pub.

But sometimes, after building community, a home, coffee shop, or public center may no longer accommodate a group’s interests and activities. In that case, not only do you have to build community, but you also have to build space.

And that’s what we’re doing at The Company. We’ve built a place to meet, gather, celebrate, and share—a place where we can intentionally and explicitly form and deepen relationships. Relationships that are supportive, relationships that are resonant. The Company is officially kicking off on June 12th, and if you’re in Denver, you should come by to celebrate at The Opening.

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Thanks for being here.
— Justin

📝 Reviewing: Hit Man (2024)

He’s not a killer, but he can pretend.

Glen Powell is officially a movie star. That’s it, that’s the review. Having worked alongside Tom Cruise in ‘Top Gun: Maverick’, Sydney Sweeney in ‘Anyone But You’, and Zoey Deutch in ‘Set It Up’, Powell finally gets the spotlight in ‘Hit Man’.

Written and directed by Richard Linklater (‘Before Trilogy’, ‘School of Rock’, ‘Dazed and Confused’), ‘Hit Man’ is very loosely based on the 2001 Texas Monthly true-life article about Gary Johnson, a professor who moonlighted as a fake hit man for law enforcement. With that kind of setup, one would expect a suspenseful action-adventure flick, but ‘Hit Man’ is anything but.

At its heart, ‘Hit Man’ is a romantic comedy — it has the meet-cute, aha moment, montage, grand gesture, cheesy lines, and is sexy as hell. And like a rom-com, to embrace it you have to suspend belief. While the chemistry between Powell and co-star Adria Arjona (‘Morbius’, ‘Andor’) is electric, the rag-tag group of police contractors, the slew of disguises, and the whole slapstick-ness of it all are quite farfetched. Yet, with its slick script and charming lead performance, you can’t help but root for them the whole time, even if it’s all just a little too silly.

‘Hit Man’ further proves Linklater as a well-rounded director and welcomes Powell as Hollywood’s next leading man and I can’t wait for him in ‘Twisters’. While it’s not completely funny, ‘Hit Man’ is completely fun. ‘Hit Man’ is available to stream on Netflix this Friday.

📺 Watching: Ripley (2024)

All I offered you is my friendship and respect and asked for nothing in return.

I used to follow the YouTube channel ‘Every Frame a Painting’, and I couldn’t help but think of that channel name as soon as I saw Netflix’s new limited series 'Ripley'. It is brilliantly shot in black and white, with cinematography so meticulous that, at any given moment, pressing pause would capture a frame just like a painting. I mean, just look at these shots.

Adapted from the Patricia Highsmith novel 'The Talented Mr. Ripley', which has been adapted before, the series follows con man Andrew Scott ('Fleabag', 'Sherlock', 'All of Us Strangers') on a fraud-filled journey through 1960s Italy.

Unlike Scott’s other series 'Sherlock', which had a sharp wit, gripping mysteries, and a suspenseful pace, 'Ripley' tells its story at a slower and more structured pace, ensuring that its schemes resolve effectively — and this requirement for patience might not be for everyone.

Between Scott’s compelling performance and the show’s stunning compositions, this is a no-phone neo-noir show to pay attention to. ‘Ripley’ is currently available to stream on Netflix.

🎧 Listening To: The Interview from The New York Times

Has streaming been good for culture?

I think you're exposed to cultures around the world in a way that makes you more understanding and empathetic…And I think it just, like all storytelling makes the world a smaller, safer place.

‘The Interview’ is a new podcast from The New York Times. Each week, hosts David Marchese and Lulu Garcia-Navarro chat with prominent figures in culture, politics, business, and sports. Launched in April, the podcast has featured episodes with actor Anne Hathaway, radio host Charlamagne Tha God, and marine biologist Ayana Elizabeth Johnson.

Recently, they talked with Ted Sarandos, co-CEO of Netflix for the past 24 years. In their conversation, they discussed developing algorithms, the swing of subscribers, moving into live TV, influencing culture, and shaping entertainment. I was most intrigued to learn that Netflix is currently programming for 650 million people around the world. That’s equivalent to the population of the US, UK, Mexico, and Japan combined. And that weight of what to produce, predicting hits, and the constant responsibility of driving the habits and discourse of so many is incredibly fascinating to me. The full episode is available to listen to below.

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Thanks for being here.
— Justin